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(The Studio. Specif nurrtae^. \^QT*« Sumtne.rO

THE BROTHERS MARIS

(JAMES-MATTHEW-WILLIAM)

EDITED BY

CHARLES HOLME

TEXT BY

D. CROAL THOMSON

MCMVI

OFFICES OF ,THE STUDIO'

LONDON AND PARIS

PREFATORY NOTE

THE Editor desires to acknowledge his indebtedness to the following,
who have kindly assisted in the preparation of this volume by lending
pictures and prints, by allowing their pictures to be photographed,
or by rendering help in other ways : — Messrs. Thomas Agnew &
Sons, Mr. J. Carfrae Alston, Mr. Craibe Angus, Mr. R. B. Angus,
Mr. Craig Annan, Mr. William Beattie, Mr. William Burrell,
Messrs. Cottier 6c Co., Mr. James Crathern, The Rt. Hon. Sir
John Day, Mr. J. C. J. Drucker, The Hon. Sir George Drummond,
Mr. E. B. Greenshields, Mr. F. R. Heaton, Mr. Arthur Kay, Messrs.
Knoedler & Co., Messrs. William Marchant & Co., Mr. Andrew
Maxwell, Messrs. F. Muller & Co., Mr. A. Forrester Paton, Mr.
H. G. Tersteeg, Mr. John G. Ure, Messrs. Wallis & Son, Madame
E. J. Van Wisselingh, and Mr. P. J. Zurcher.

The Editor also wishes especially to thank Mr. Matthew Maris
and Mr. William Maris for the valuable assistance they have given
Mr. Croal Thomson in the preparation of the letterpress, by furnish-
ing him with interesting particulars of their family history and
artistic careers.

B M tti

ARTICLES

Introduction .......

Modern Dutch Painting ....... vii

Family History ....... „ xi

Methods of Oil and Water-Colour Painting . . „ xxiii

Maris Pictures in America ..... „ xxix

Examples of the Works of the Brothers Maris . . „ xxxi

The Influence of the Brothers Maris ... „ xxxvii

IN FACSIMILE COLOURS

" Gateway at Haarlem." By permission of Messrs. Thos.

Agnew & Sons and Messrs. Wallis & Son . . J. 3

" Entrance to the Zuider Zee." By permission of Messrs.

Thos. Agnew & Sons and Messrs. Wallis & Son. T. o

. ' rf" -K '•

" The Windmill." By permission of Messrs. Thos.

Agnew & Sons and Messrs. Wallis & Son . . . J. 17 ^
" Ploughing." By permission of Messrs. Thos. Agnew &

Sons and Messrs. Wallis & Son . . . . J. 27

IN PHOTOGRAVURE

" The Fisherman." By permission of Messrs. Thos.

Agnew & Sons and Messrs. Wallis & Son . . . J. 6
" The Towpath." From the collection of the Rt. Hon. Sir

John Day . . . . . . . . J. 14

" River Scene/' From the collection of Arthur Kay, Esq. J. 24

" The Canal." By permission of Messrs. Boussod, Valadon

& Co., The Hague . . . . . . J. i

" The Five Windmills." By permission of Messrs. Thos.

Agnew & Sons and Messrs. Wallis & Son . . . J- 2

" The Young Mother." From the collection of J. C. J.

Drucker, Esq., in the Rijks Museum, Amsterdam . J. 4

B M v

LIST OF ILLUSTRATIONS AFTER JAMES MARIS

"Dordrecht." From the collection of William Beattie, Esq. J. 5
" View of a Harbour." In the Rijks Museum, Amsterdam J. 7
" A Stormy Day." From the collection of the Rt. Hon.

Sir John Day ., J. 8

" View of a Town." By permission of Messrs. F. Muller

& Co., Amsterdam . . . . . . . J. 10

" Ploughing." From the collection of the Rt. Hon. Sir

John Day . . . . . . . . J. 1 1

" View of a Town." In the Rijks Museum, Amsterdam J. 1 2
" River Scene." By permission of A. Preyer, Esq., The

Hague . J. 13

" At the Well/' From the collection of the Rt. Hon. Sir

John Day . . . . . ". . . J. 15

"A Dutch Town." From the Donald Collection in the

Glasgow Art Gallery . . . . . . J. 16

"Girl Sewing." By permission of Messrs. Wallis & Son . J. 18
"A Dutch Lugger." From the Donald Collection in the

Glasgow Art Gallery . . . . . . J. 19

" The Bridge." By permission of Messrs. Knoedler & Co. J. 20
" Girl on Sofa." From the Donald Collection in the

Glasgow Art Gallery . . . . . J. 21

" The Ferry Boat." In the Municipal Museum, Amsterdam J. 22
" Gathering Shells." From the collection of J. C. J.

Drucker, Esq., in the Rijks Museum, Amsterdam . J- 23

" The Peacock Feafher " J. 25

"A Cloudy Day." From the collection of J. Carfrae

Alston, Esq. . . . . . . . . J. 26

" The Shepherdess." By permission of Messrs. Thos.

Agnew & Sons and Messrs. Wallis & Son . . . J. 28
" The Wharf." By permission of Messrs. Boussod, Valadon

& Co., The Hague . . . . . . J. 29

" Near Rotterdam." From the collection of C. D. Reich,

Esq., Jun. . J. 30

"Amsterdam." From the collection of the Rt. Hon. Sir

John Day . . . . . . . J. 31

vt B M

LIST OF ILLUSTRATIONS AFTER
MATTHEW MARIS

IN FACSIMILE COLOURS—

"The Christening." By permission of Messrs. Thos.

Agnew & Sons and Messrs. Wallis & Son . . M. 14

" Siska." From the collection of D. Croal Thomson, Esq. M. 22

IN PHOTOGRAVURE—

"The King's Children." In the Mesdag Museum, The

Hague . . . . . . . . . M. 3

"The Shepherdess." From the collection of the Hon. Sir

George Drummond . . ... . . M. 6

" L'Enfant Couchee." From the collection of Andrew

Maxwell, Esq. . . . . . . . M. 17

"Baby." From the collection of John G. Ure, Esq.

LITHOGRAPHIC REPRODUCTION —

A Drawing. Lent by the Artist ....

M. 27

M. ii

" The Christening." From the collection of E. B. Green-
shields, Esq. . . . . . . . M. i

"The Castle." From the collection of James Crathern, Esq. M. 2
An Early Study. From the collection of Madame E. J.

Van Wisselingh . . . . . . . M. 4

"The Butterflies." From the collection of William Burrell,

Esq. . . . . ... . . M. 5

"The Flower." From the collection of R. B. Angus, Esq. M. 7

" Montmartre." From the collection of William Burrell, Esq. M. 8

A Study. From the collection of M. Van der Maarell, Esq. M. 9
"The Prince and the Princess." From the collection of

A. Forrester Paton, Esq. ...... M. 10

A Study. In the Mesdag Museum, The Hague . . M. 12
" Feeding Chickens." From the collection of the Rt. Hon.

Sir John Day ........ M. 1 3

B M wV

LIST OF ILLUSTRATIONS AFTER MATTHEW MARIS

"A Market Scene." From the collection of J. J. Biesing,

Esq M. 15

" Souvenir of Amsterdam." By permission of Messrs.

William Marchant & Co. M. 16

"The Spinner." From the collection of J. R. H. Neer-

voort van de Poll, Esq M. 18

Landscape. In the Mesdag Museum, The Hague . . M. 19
" A Fantasy." From the collection of Madame E. J. Van

Wisselingh . . . .',... . M. 20
"Lausanne." From the collection of William Burrell, Esq. M. 21
A Study. From the collection of Madame E. J. van

Wisselingh . . / . . . . M. 23

" The Four Mills." From the collection of the Rt. Hon.

Sir John Day . . . ^. • . • . M. 24
"The Bride of the Church." In the Mesdag Museum,

The Hague M. 25

" Under the Tree." From an original etching lent by the

Artist M. 26

" Cottage Scene." From the collection of C. D. Reich,

Esq., Junr. . . . . . . . M. 28

"The Enchanted Castle." From an original etching lent

by the Artist M. 29

" The Sisters." From the collection of William Burrell,

Esq M. 30

"The Lady with the Distaff." From an original etching M. 31

VIII B M

LIST OF ILLUSTRATIONS AFTER
WILLIAM MARIS

IN FACSIMILE COLOURS -

The Watering Place." By permission of Messrs. Thos.

Agnew & Sons and Messrs. Wallis & Son . . . W. 3
The Family." By permission of Messrs. Thos. Agnew &

Sons and Messrs. Wallis & Son ..... W. 9

IN PHOTOGRAVURE

Springtime." From the collection of the Rt. Hon. Sir

John Day W. 6

" In the Shade." By permission of P. J. Zurcher, Esq. W. i
" A Quiet Spot." By permission of Messrs. Boussod,

Valadon & Co., The Hague ..... W. 2
" By the Stream." By permission of Messrs. Thos. Agnew

& Sons and Messrs. Wallis & Son . . . . W. 4
" Ducks." By permission of Messrs. Thos. Agnew & Sons

and Messrs. Wallis & Son . . , . . . W. 5
" Cattle in Pasture." From the collection of the Rt. Hon.

Sir John Day ....... . W. 7

" Cows near a Ditch." In the Rijks Museum, Amsterdam W. 8
" The Landing Place." By permission of Messrs. Thos.

Agnew & Sons and Messrs. Wallis & Son . . . W. 10
" Milking Time." By permission of Messrs. Boussod,

Valadon & Co., The Hague . . ' . . . W. 1 1

B M IX

INTRODUCTION

HROUGHOUT the history of Art there are
many examples of the Heaven-born gift of
genius being to some limited extent hereditary.
In painting these are mostly confined, as in
the case of the Ghirlandajos, Domenico the
father of Ridolfo, the Francias, the Canaletti
family, the Carracci family, and the Tiepolos,
to sons succeeding fathers and carrying on
the business of the house, as it were, which
had been begun by the elder artist.

There are examples also in the modern world of Art, some being
amongst notable living men, and others, like the Landseer Brothers —
Sir Edwin, the animal painter, and his brother Thomas, a well-known
engraver — amongst a past generation.

In nearly all these instances, however, one member of the family has
achieved great distinction over his relatives, and, as in the Ghirlan-
dajos and Tiepolos, this has occurred to such an extent as practically
to merge the less renowned in the fame of the more widely acknow-
ledged artist.

With the Maris circle the facts appear to be different from those
connected with any other members of the artistic community, either
of the present day, or, in any remarkable way, of the past.
In the Maris family are to be found three distinguished artists, each
walking his own way, and while all three have affinities with the
others (their early productions especially being very similar in ideas),
yet each possesses characteristics which have gradually become so
decidedly marked as to render each worker an artist on his own
merit and of the first rank.

Although not so recorded, the Brothers Maris must have had excep-
tional parents, but their special gift does not seem to have been
hereditary except through the possible influence which the
older Dutch Art has on all the mothers and fathers in Holland.
Only, as I shall show later, the Maris family cannot be claimed as
being entirely Dutch, for the grandfather of the brothers, a
Napoleonic conscript, was born in Germany.

The reference to the older school of Holland leads one to reflect on
the influence that the art of the past has on the artists and art lovers
of the present. I greatly fear this influence is not nearly so powerful

B M i

INTRODUCTION

as many wish to assert, and as we would ourselves, if possible,
gladly believe. For what is the use of contending that this
influence is really strong when we think of the countries possessing
the finest old pictures and of their modern representative paintings.
Take Spain for example. Amidst the many brilliantly coloured
performances of to-day — far behind, so far as I know, the achieve-
ments of Fortuny, or even Madrazo — are there any pictures which
reveal, in the smallest way, the influence of the greatest painter of
all — the glorious Velasquez ? Or take Italy. After the lamented
Segantini, is there any painter of to-day who is touched with the
traditions of Rome, Florence or Venice, in any masterly manner ?
Even in France the ascendency of the Barbizon School lingers
almost alone in the aged Harpignies, while the Delacroix disciples
have lost themselves in fantastic compositions such as we look on
without feelings of interest or pleasure.

Art, in face of such facts, cannot be considered hereditary as a
matter of course. The works of the forebears carry only a modified
ascendency over the results of to-day. The old masters are fre-
quently left out of account by the present-day artists. It may fairly
be contended, however, the result is that we find new ideas of art
springing up amongst new people, and the stimulating breath of
genius carried as by spirits from one country to another.
Let us momentarily consider landscape-painting — and it is mostly
with landscape the Maris Brothers have to do. Chronologically
downwards from the old Dutch artists, Ruysdael, Hobbema and Van
der Neer, we come to the Norwich School of England. This
^develops into Bonington, Constable and Turner, and these exercise a
most potent sway over the Barbizon men of 1830. From France the
spot where genius lodges changes again to Holland, and in the
present year, 1 907, the artists of the Low Countries appear to have
a monopoly — and they have had it for a generation past — of artistic
production as a nation.

Folly it would be to suggest that other living artists of to-day are
always inferior to the masters just named, but these men are like
individual peaks in level lands, although the absurd etiquette of
to-day forbids us to recognise their eminence until their spirits
are freed from their mortal dwelling-house.

Later I discuss the merits of the modern Dutch school, but for the
moment I may say, broadly speaking, that we arrive at the conclusion
the artists of Holland of to-day are, as a group, superior in real
artistic production to the painters of any other nation, and of these
ii B M

INTRODUCTION

artists we find the three Brothers Maris, with their colleagues Mauve
and Israels, the most distinguished of the number. Each deserves
consideration of his merits and artistic qualities in a different light,
and while, again broadly speaking, I find the eldest brother James
Maris technically the greatest painter, this does not prevent me from
almost adoring the spiritual qualities of Matthew, nor from
appreciating the artistic charms of the youngest brother William.

The increase in the world's estimate of the paintings and the draw-
ings of the Brothers Maris, although gradual and never by any
leaps and bounds, has been so continual that the difference has
become remarkable and even phenomenal. From the very small
beginnings of the current money values of the productions of these
artists — that is anything from ten pounds to fifty for a water-colour,
and from twenty-five or thirty to two hundred pounds for an
important oil painting — the works of all three Brothers Maris
have risen to sums scarcely credible outside the wealthy coterie
who willingly compete for their productions. For example, the
most important picture James Maris produced, which, as we say
elsewhere, was painted in 1885, was purchased from the artist for
something under four thousand gulden, or about three hundred
and twenty pounds, and it is said to have changed hands in 1906 for
about double as many guineas as was originally paid in gulden, and
if it were again to come into the market it would readily fetch even
a larger amount.

I remember very well being present at the sale of the Waggamann
collection in New York in 1905 ; the many general biddings there
were, all over the room, for the Dutch pictures, when Israels and
Mauve sold for record sums and the small drawings by James and
William Maris reached amounts far beyond expectation. I had
thought it quite possible, in the multitude of pictures to be offered,
that these drawings would be sold for something under their value
in England, but I was mistaken and was only further impressed with
the willingness of the intelligent American to pay highly for the
finest quality of artistic work.

In America artistic matters are treated in the best circles in a far
more serious way than in England. The young American reads
about each artist of fame, selects the masters he or she personally
prefers — for the ladies, having more leisure, enter with completely
intelligent zeal into the pursuit — and then study them and their
works in the most careful way. It is in Boston that this is found in

B M iii

INTRODUCTION

most vigorous existence, but in New York, Philadelphia, as well as
in Canadian Montreal, the cultivation of a knowledge and under-
standing of the Fine Arts is almost equally healthy. Even in the
comparatively small city of Pittsburg, under the competent guidance
of that friend of art and artistic people, Mr. J. W. Beatty, such
matters are excellently well understood.

In New York City affairs of this kind are, like those of London and
Paris, in the hands of large and old-established houses, such as
Messrs. Knoedler & Co., with Mr. Carstairs as the special friend of
the Hollanders, Mr. James Inglis, and Messrs. Scott and Fowles,
whose successful enterprise has carried some of the finest canvases of
the school into the interior of the United States.
It is not surprising, therefore, that for many reasons there has been
a steady flow of modern Dutch pictures to the western side of the
Atlantic.

In England there are at present only one or two prominent collectors
of these works. Until recently there were also two well-known
men who devoted their leisure and money to gathering together fine
examples of all the modern artists of Holland. Both of these
collections, that of Mr. J. S. Forbes and of Mr. Alexander Young,
have been fully described in THE STUDIO. Other collectors are
Sir John Day, Mr. George McCulloch — the owner of 'The Lock
and a lovely little Matthew Maris, At the Well — and Mr. J. C. J.
Drucker. This last-named gentleman, whose home is in Mayfair,
and whose sympathies are thoroughly British, is the happy possessor
of the finest and most complete collection of the works of James
Maris.

Mr. Drucker, although still a young man, has, sympathetically
assisted by his wife, for many years devoted himself to making a
collection such as would show James Maris in every phase of his art
and always in the most exalted way. He has not neglected other
Dutch artists, and his pictures by Israels are notable ; but James
Maris has a specially powerful attraction for him, and the Drucker
collection is famous amongst art lovers for the number, size and
fine quality of its examples. Mr. Drucker has a number of fine
pictures in London, and his dining-room is hung entirely with
paintings by Israels. Besides these he has a splendid collection of
similar pictures at present in the Rijk's Museum, Amsterdam. A
whole salon is hung with modern Dutch pieces, which for a time
are displayed in a side gallery on the ground floor, but the owner
is not likely to be content or to arrange to hand them over (as
iv B M

INTRODUCTION

he is said to have hinted he would) to the Hollander nation
unless the collection is put on a level with the older masters
upstairs. Within the last few months Mr. Drucker has lent four
representative works to the National Gallery in London, and it
is fairly certain that if this generously-minded collector feels these
pictures are properly appreciated they will ultimately become the
property of the English nation.

Mr. Drucker is one of the very few Hollanders who have had
abiding faith in the artists of his native country. Tempted by the
great rise in money values, the owners of such pictures in the
Netherlands have quietly but persistently sold until it is as difficult
to obtain a good modern Dutch picture in Holland as it is to find
one by Rembrandt and the old school of the Low Countries.
Twenty years or so ago the Dutch artists and those who acted for
them in commercial matters resented severely the rise in value of
their works in oil and in water-colour. They appeared to think
that lovers of art in Britain and America were seized by a craze that
would speedily pass. They feared that the prices might be increased
in such a way as to discourage the demand, and that they would be
left somehow without a market. This fear was as absurd as it was
childish, for the value of the pictures and drawings of twenty years
ago has doubled and doubled again in the markets of the world.
But this fear has left their country very bare of fine works by any of
the Maris Brothers or of their friend and kindred artist Anton
Mauve. At the present time it is rarely possible to find a really
good example of these men in any auction sale in Amsterdam or
The Hague.

The collection of Sir John Day, the famous judge, whose greatest
achievements were at the Parnell Commissions, has recently been
removed to a particularly well-arranged house near Newbury in
Berkshire. In a dining-room having a subdued top light, the
pictures of the Barbizon men and of the three Maris brothers are
seen to the best advantage, and no serious student of these pictures
is likely to find difficulty in obtaining permission to examine them.
Encouraged by Lady Day, whose intelligent interest in her husband's
famous collection is an additional attraction, Sir John Day has given
THE STUDIO permission to reproduce such of the Maris pictures as
seem desirable, and full advantage has been taken of the privilege,
as may be seen by our illustrations.

Sir John Day's collection is the best in England of those brought
together during the life-times of the painters, and his taste being of

B M v

INTRODUCTION

the severest order the result is there is not one ordinary picture in
the whole house.

The pictures are described later when treating generally of the works
of the three brothers, but it is permissible to say here that the Girl
Feeding Chickens by Matthew Maris (M. 13) and the Amsterdam by
James Maris (J. 31) are examples of the very highest order, and
they are, on the whole, two of the most representative works of the
masters which exist.

VI B M

MODERN DUTCH PAINTING.

HE present School of the artists of Holland has
unfolded itself during the last fifty years or so.
Earlier than the fifties of last century the
painters of the Low Countries were almost
entirely of the anecdotic and semi-classic
school, which, fortunately, has now nearly
disappeared. These were men who, as artists,
were draughtsmen first and colourists after-
wards. Their works were carefully and
almost always well drawn, but their subjects were feeble and the
painting technically deplorable.

There is one theory in painting nearly certainly correct, but which
no discussion can thoroughly settle, and this is that if an artist has
to choose between what is termed accurate or academic drawing and
painting with fine colour, he is more justified in sacrificing his
drawing than in diminishing, by one hair's breadth, his ability
to produce a work of good tone and colour. A picture, in short,
may be loosely drawn and not very well composed, and yet be a
fine work of art if the colour and tone are good. But a painting
which has poor tone and colour, however cleverly and accurately
drawn, has little chance of a long life of esteem.
I remember very well the several discussions I had on this point
with Lord Leighton. This artist, the ideal President ot the Royal
Academy because of his gifts of speech and presence, could not
understand the growing public appreciation of pictures not quite
carefully arranged nor rigidly outlined. With the intuition of a
man of genius, Lord Leighton was genuinely alarmed at what
seemed to him to be likely to lead to a degradation of the Fine
Arts. Yet, already, well within ten years of his death, all that
seemed in Leighton's mind worth producing in a picture has been
taken from the high pedestal on which he raised it, and tone and
colour have occupied the place.

Leighton's own pictures are steadily decreasing in appreciation by
the artistic public, and it is certain that it will only be by com-
paratively few pictures he painted in fine colour that he will be
remembered. The Garden of the Hesperides and, perhaps, the Daphne-
phoria are about his best.

The modern school in Holland follows in the strongest way this
c B M vii

MODERN DUTCH PAINTING

movement of tone and colour (a movement which, however, is
only the legitimate successor to the Barbizon School carrying on the
earlier traditions of Constable), and it has done this so successfully
that no group of present-day painters occupies one-half so safe a
position. As a national school, in fact, the modern Dutch artist
reigns supreme.

The landscapes of Holland and the interiors of its cottages and

churches form the staple subjects, and with their intimate knowledge

of these the Dutch painters are successful in holding their audience

throughout the whole artistic world. The chief leaders of this

School in Holland are Josef Israels, Anton Mauve, the three Brothers

Maris, Blommers, Bosboom, Neuhuys and Mesdag. There are

probably fifty others, all more or less excellent artists, but none

exhibit the strong individuality of those named. In order to obtain

a correct understanding ot the position of the Brothers Maris it is

exceedingly useful to know something about these masters, who are,

in fact, some of the greatest artists of contemporary fame.

Josef Israels is usually taken as the head of the present School in

Holland, not only because he is one of the most competent of its

masters, but also because of his untiring disposition to aid his artist

fellow-countrymen and promote their interests in every way he can.

Mr. H. W. Mesdag is Mr. Israels' first lieutenant in all such schemes,

and there is nothing more beautiful than to witness the devotion

with which these two — now old gentlemen — give to the promotion

of exhibitions of contemporary work by their younger confreres^

either in Holland itself or in other countries, when opportunity

offers.

The Pulchri Studio is the great meeting-place of the artists of The
Hague, and it is specially to be borne in mind that by far the
greater number of painters of Holland live in that interesting and
reposeful city. Amsterdam is the commercial capital, of course, but
artistically, so far as modern art is concerned, it takes a much lower
position than the city of the Vyver. The homes of every one of the
artists named are at The Hague, and from thence they make all
their excursions. There are, doubtless, painters of some pretensions
living in Amsterdam, Haarlem, Leyden, and Rotterdam, but the
present tendency is, as soon as a reputation is seen to be on
the way, to take up residence in The Hague or its immediate
neighbourhood.

For the stranger in Holland — as, indeed, I have heard the intelligent
Dutch say also for themselves — it is a source of never-ending delight
viii B M

MODERN DUTCH PAINTING

to observe the truth of the modern Dutch artist, as revealed at almost
every yard in the Netherlands, by noting the effects of the landscape
and sky. From The Hague to Scheveningen on the coast, a couple
of miles off, there are dozens of the subjects of these artists to be
seen. Passing through the woods, one recognises an Israels' subject
in a peasant lad and lass moving along. A little further on, when the
wood is passed, one comes across a typical sand-dune landscape with
a flock of sheep exactly as Anton Mauve depicted it. Nearer the
sea we find a low-lying country with rolling clouds overhead, or at
the sea side itself a Dutch lugger lying at anchor with moving water
— both such as James Maris revelled in all his life.
At the sea side also we mark the curiously far-off-looking horizon or
Scheveningen such as Mesdag never tires of painting, while a little
farther on we may come to a windmill such as James Maris poured
out all his strength to paint. Returning to the town, we can look at
the canals and locks and red-tiled houses which have also helped to
make James Maris' artistic reputation, while we pass by the meadow
lands with pools and pleasant prospects dear to the more placid
pencil of William Maris.

The interiors of the cottages are necessarily somewhat similar. The
Maris brothers were never greatly attracted by them, but Israels, and
his friend and follower (yet powerful artist on his own account)
Blommers, have painted them under every possible condition :
cottage Madonnas, breakfasts, dinners, feeding baby, and all the ages
of motherhood and childhood are there. For years Israels had in
his studio the interior of a peasant's cottage erected as a model, and
his Reveries, Weary Watchers, and kindred subjects have come
therefrom. None of these subjects, however, have had any serious
attraction for Matthew Maris.

Mr. E. V. Lucas, who knows his Holland thoroughly, somewhat
quaintly says that if one saw the back of a canvas carrying a picture
by James Maris or Josef Israels, Anton Mauve, or, in fact, by any of
the painters of Holland, a good guess could be given of the subject
of the picture. The exception is Matthew Maris, as Mr. Lucas has
justly discovered. It is perfectly impossible to be certain of anything
produced by this remarkable artist. One day a figure, next day a
head, another time a windmill landscape, and again a town or village.
It is to Matthew Maris I have, in this publication, devoted most
attention, for the living interest in his work is constantly increasing.
Moreover, I know him personally best, and his pictures and
drawings appeal most to myself. Less also is known of Matthew

B M IX

MODERN DUTCH PAINTING

Maris and his life than those of his brothers ; many of his own
countrymen are aware only of his name, and never think of him as
one of their greatest artists. But to those who have the advantage
of some knowledge of his works he is by far the most interesting
artistic personality living in our time. Rodin, in a different way,
similarly attracts, and he is another artist of the purest spirit of
genius. Whistler was also of the same exalted atmosphere, however
much he may have been to the personal dislike of the momentary
leaders — or misleaders, as I contend — of art of between twenty and
thirty years ago.

Kindred spirits to Matthew Maris in the past have been the gentle
Corot and the exuberant Turner, the delicate Claude of France, the
Vermeer of Delft, the Fra Angelico of Florence, the Memling of
Bruges together with one or two other Primitives whose correct
cognomens are scarcely known. Such men were the artistic pre-
decessors of the painter who for many years has taken refuge in
London, and whose genius, as revealed by his letters, still burns
brightly enough to make his recent paucity of production forgiven.
Nevertheless, his most earnest friends would gladly welcome his
return to the easel, from whence has come the paintings and draw-
ings which are now accepted as masterpieces of singular and
stimulating genius.

x B M

J 1 JAMES MARIS

''THE CANAL." BY PERMISSION OF

MESSRS. BOUSSOD, VALADON & CO., THE HAGUE

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"GATEWAY AT HAARLEM"

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BY PERMISSION OF MESSRS. THOS
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J 4 JAMES MARIS

"THE YOUNG MOTHER." FROM THE COL-
LECTION OF J. C. J. DRUCKER, ESQ., IN THE
RIJKS MUSEUM, AMSTERDAM. PHOTO. KLEINMANN

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J27 "PLOUGHING"

JAMES MARIS

BY PERMISSION OF A\ESSRS. THOS.
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"THE SHEPHERDESS." BY PERMISSION OF MESSRS.

THOS. AGNEW & SONS AND MESSRS. WALLIS & SON

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"NEAR ROTTERDAM." FROM THE

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^ i-

FAMILY HISTORY

HE family history of the Maris Brothers is
interesting in several ways, although there
does not seem to be a great deal to relate. It
appears, however — and this is a point of special
interest — that the grandfather of the painters
was a Bohemian soldier, who came from
Prague at the time of the Napoleonic unrest
early in the nineteenth century. This con-
script is said to have been named Maresch,
and he knocked about over half Europe until his passport became
so obliterated, that he himself forgot how to spell his family
name. He ultimately settled in the Hague, and called himself
sometimes Marris and sometimes Maris. He married a Dutch
woman and brought up a family.

The Bohemian warrior's son became a printer in the Hague, and he
usually called himself Maris, yet, occasionally, like his father,
Marris. Maris, however, became the accepted form, and in our
account of the painters' careers the usual spelling has been adopted.
It may be added, because of the uncertainty of the English pronun-
ciation of foreign names, that the name Maris rhymes very nearly
with the English rendering of Paris — the first vowel, however, a
little longer, and the final letter clearly expressed.
The printer Maris had a severe struggle all his life, and he worked
very hard to bring up his family of five children, three boys, Jacob,
Matthys and Willem — to adopt for once the Dutch spelling of the
names — and two daughters. The daughters both lived to become
mothers of families, but are now dead — a terrible inward complaint
carrying both to the grave.

James was born in 1837, Matthew in 1839, and William in 1843.
All were born in the Hague. The two younger brothers still
survive — Matthew is living in London and William at the political
capital of Holland. James died in 1899 at the Hague.
The father of the artists suffered so much in his struggle for life —
once he worked for three whole days and nights at printing a Bible
which was being pushed rapidly forward to send out to Java — that
he resolved to give his children a better career if at all possible.
When the boys were quite youngsters, he gave them pencil and paper
and urged them to draw. It appears that when James was little

d B M XI

FAMILY HISTORY

more than twelve years bid he was a pupil at the Art School of the
Hague (Haagsche Teckenacademie), and three years later was an
accepted pupil of a certain fairly well-known artist, H. van Hove,
with whom he went to Antwerp in 1853.

Matthew had similar training, and one of his early recollections is of
his father giving him pencils and paper in the same way. But the
second brother never had the same notions as his elder, and it was a
hard task to keep him to his models. He went with James to
Antwerp for a considerable time, and although he never accepted the
same ideals, he had to be beholden to him for a daily living.
Such, in a general way, is the outline of several long conversations
I have had this year with Mr. Maris in his London house, about
his early days. But in showing this story to him in typewriting,
he has told me that perhaps, after all, some of his early stories
have as much fancy as fact in them, for he is not absolutely certain
that his grandfather ever was a soldier, although it is very likely
he was ! Mr. Maris adds a story, however, about which he says
" no fancy in this." When a child he appropriated some pieces
of gold belonging to his grandfather and employed them to purchase
sweets — " for my own comfort sake," as he rendered it. The
misdeed was soon discovered, the child was found out and severely
punished. The grandfather was a pensioner, in any case, and he
died in a home for old people at the Hague.

Mr. Maris' father, the son of the pensioner, was also, like every man
in the country, a conscript in the army, and he fought on the
Dutch side at the time of the separation from Belgium. Once,
Mr. Matthew Maris relates, his father was in an engagement
between the armies, and they were firing through the mist at an
enemy they could not see. Every now and then a comrade was hit,
and dropped out. " What crime have these comrades committed
that they should be slain ? " cried the conscript, and he got into a
temper and could not help saying : " They ought to hang these
murderers in office."

In 1860 James and Matthew travelled in Germany and Switzerland,
but I have never seen any of the productions of these early days.
There is one study of still life by Matthew in the possession
Mr. E. J. van Wisselingh — the lifelong champion and friend of the
second brother — which was painted in 1852, but its interest lies
almost solely in this fact. The early studies in the Mesdag Museum
at the Hague are also interesting in this connection.
James and Matthew lived together, although it became evident their
xii B M

FAMILY HISTORY

artistic careers would run in different directions, and when the
Franco-German war began they were in Paris, where James had
been for several years. James had been for a short time a pupil of
Hebert — himself a pupil of David and Delaroche, and a winner of
the Prix de Rome in 1 839 — but the painter of the Malaria (so long in
the Luxembourg) had no powerful influence over this particular pupil.
In 1870 the second brother from Holland was enrolled in the
Municipal Guard ot Paris and found he was to be called out for
duty. Thankful was he, for a certain all-sufficient reason which
the dullest imagination can readily comprehend. In the time ot
siege no one wanted to buy pictures, so he was happy to be fed
and clothed and to have a claim to the thirty sous a day paid to the
soldiers.

The post of Matthew Maris was on the Parisian fortifications
opposite Asnieres and just under Mont Valerien. The nights were
frightfully cold, and amongst other wraps the sentries were permitted
in the bitterest of the weather to wear even whole sheepskins, which
were tied around them.

One night, Matthew relates, he was walking up and down when he
heard a movement, and at once called " Halte ; Qui vive ? " and a
small group of horsemen of the French army were brought to a
standstill by his call. An officer came forward and rather blamed
our artist for not shouting more loudly, and Matthew was glad to
get off with a scolding, as he thought for a moment it was the
enemy. Another time he heard shots in the distance, and gave the
alarm, but he never came to close quarters with the Germans, or
was an actual witness of any of them falling. On another very
cold and bleak night, presumably when the sheepskins were not
available, Matthew Maris relates that he secured a monk's coat with a
hood, which he donned to keep out the dreadful cold. He put his
gun under his arm and his hands deep in the wide sleeves. He
noticed a piece of wood amongst the puddles, and he found it large
enough to stand upon and, at least, keep his feet out of the water.
He goes on to say that he was feeling comparatively comfortable
when some noise occurred very near, and far below where
he was standing sentry. He called out and received for answer
" Artillerie ! " " Tant mieux," he said, and was glad it was nothing
else, for the cold had so numbed his fingers that to save his life he
could not have fired his rifle. " Besides " — and I now quote the
artist's own words — "I never put a bullet in my gun, but only
pretended " to do so !

B M xiii

FAMILY HISTORY

It must have been a queer life for the gentle artist, with his small
body and not over-strong limbs. A pen-and-ink sketch exists of
Matthew Maris in his regimentals, with haversack, infantry cap
and long rifle. As his normal height is under even the smallest
number of inches given to the great Napoleon, his appearance with
sheepskin around him in the snow must have been a sight to make
the gods smile. To this day the artist delights in telling of his
experiences at this time. But he will say little about his later stern
refusal to help to fight the Communists. As he says, he was quite
glad to oppose the Germans, as his natural enemies, but he would
not wound a Frenchman however misguided.

James, with his wife and children in the besieged city, must have
suffered severely in the general confusion. It appears to be out of this
time that the artist, as we now know him, began to paint in his charac-
tteristic manner. The pictures of 1 870 and later of James Maris, though
mostly small, show an appreciation of tone indicating how the mind
of the artist was awaking. Colour he did not strive after, as in his
later years, but in the general arrangement of composition, the
tones of sky and landscape, can be observed the first indications
of the success of the painter of The Windmill^ The Bridge^ and a dozen
other masterpieces.

James Maris and his family returned to The Hague in 1871, glad no
doubt to be back in the land of peace and prosperity after their semi-
starvation in the beleaguered city. But it was not for twenty years
thereafter that his countrymen believed in him as a great painter.
The old puzzle of no honour in one's own country was set to him
in the most emphatic way, and it was to Dutchmen living out of
their own country, and to Scotsmen, that he owed his first apprecia-
tion.

In 1871 one of the young assistants of the house ot Goupil 6c Co.
was a certain Mr. E. J. van Wisselingh, who had come from
Holland to be taught the business of dealing in pictures.
I did not know the house of Goupil in Paris until ten years later,
but the interior arrangements of the establishment were similar until
about 1890. The Goupil house was established in the Boulevard
Montmartre where Matthew Maris often went. But the large
magasin was in Rue Chaptal to the north of the city, and it was
from this latter that all the famous publications emanated ; the
engravings of Gerome and his school, Delarochc, and many another
familiar to the era of Napoleon III. The whole influence of these
anecdotic painters has happily vanished, and only from the then
xiv B M

FAMILY HISTORY

half-despised works exhibited in the small shop on the Boulevard
Montmartrc has the greatness of the house of Goupil survived.
In " The Boulevard " as the little place near the Cafe Richelieu was
always called, the pictures of Corot, Millet, and the men of Barbizon
were offered for sale, and also the productions of Israels, the Maris
brothers and Mauve from the branch then recently founded in the
Hague. The members of the large establishment in the Rue
Chaptal, even in my time, spoke with a certain scorn of the way-
ward artists patronised by the Boulevard, and it is on record that
the head of the house characterised the pictures there retailed as
" rubbish."

But time revenges every artistic iniquity, and the commercial daring
of the shop in the city, so often sneered at, was the mouse which
saved the lion of the Rue Chaptal, and from 1885 onwards the
Geromes and the anecdotes were steadily overtaken by the despised
Corots, Rousseaus, Marises and Mauves, until in the present day the
artists of " The Boulevard " reign supreme.

But twenty years is a long time to wait, and many a weary week
did the men in the Montmartre spend while watching for the turn
in the taste of the public.

It was in conditions like these that Matthew Maris began his busi-
ness relations with Mr. Van Wisselingh, relations, the real truth con-
cerning which cannot fairly be divulged during this generation,
though some day the story will be told and the picture dealer
will receive his proper praise.

James Maris also was always honoured in the Boulevard, and
although he went back to the Hague soon after the close of the war,
his relations with the Goupils continued until his death, greatly
fostered by the courageous manager of the branch house in Holland,
Mr. H. G. Tersteeg.

From this time onwards the story of the life of James Maris is the
experience of every successful artist who has found his metier and
reached his market. Under the farseeing guidance of Mr. Tersteeg,
James Maris had little further anxiety even in the rearing and educa-
cating of his numerous family. Mr. Tersteeg interested the famous
collector (half Dutch, half Scottish), James Staats Forbes, in the
Maris pictures, and many of the finest canvases coming from his
brush were, in the first place, purchased by Mr. Forbes.
I very well remember the great picture, probably the most powerful
work James Maris ever painted, The Bridge (J. 20) — now in the
gallery of Mr. H. C. Frick in New York — and Mr. Forbes'

B M XV

FAMILY HISTORY

quick appreciation of it. This was in 1885, when the paint was
scarcely dry ; but the story comes in more naturally when dealing
with the picture itself.

Mr. Alexander Young was another great lover of James Maris, and
he never lost a single opportunity of securing the many first-rate
pictures that rapidly emanated from the artist's atelier. Sir John
Day, Mr. Charles Roberts of Leeds, and several collectors in Scotland,
Mr. Thorburn of Peebles, Mr. Andrew Maxwell, and Mr. John G.
Ure of Helensburgh, and others were steadfast admirers of the painter
and purchasers of his works.

It was in 1899 that the end came for James Maris at The Hague,
where he died and is buried, a simple monument, set up by the
affection and admiration of his numerous friends, gracing his tomb.
But while the path of James Maris was made comparatively smooth
by successful toil, his brother Matthew was going his own lonesome
way. With the notable exceptions of Sir John Day and Mr. Andrew
Maxwell, none of the greater collectors of Dutch modern pictures
seemed to care to add the works of Matthew Maris to their treasures.
Mr. Alexander Young did not possess any, and Mr. Forbes made no
effort to acquire canvases of real importance. In this respect, and in
another, Mr. Forbes' vision seemed to be curiously limited, for neither
Whistler nor Matthew Maris were ever really admired by him.
His collection at different times included works by both, but never
for very long.

So it came about that Matthew Maris was much left to his own
devices. Soon after the Franco-German war the decorative artist,
Daniel Cottier, required a designer for his marvellous stained-glass
windows. He was a sincere admirer of Matthew Maris, and he
engaged him to come to London and work for him. Thus began a
connection which lasted for many years. Then, after a time,
Matthew Maris occupied a house in St. John's Wood Terrace, and
it was there, in 1890, I first saw the artist. Poor enough, indeed, it
seemed, and not in any way luxurious, but it was the home to the
liking of the painter, and it was, doubtless, within his power to
change it if he had so desired.

Now, in the year 1907, Matthew Maris is installed in a really comfort-
ableroom in the neighbourhood immediately to the west of St. John's
Wood, and it is from there he dates the letter which follows. I
wrote to his old address, telling him of my project to write this
account of himself and his brothers, and asking his consent to
reproduce some of his works. The letter given here conveys some
xvi B M

FAMILY HISTORY

idea of the way he welcomed me after the long interval between
1892, when I last saw him, and the present year : —

" I felt glad with your letter, which was sent on to me from my old place, from
where I had to move out, my little housemother got too rheumatical to climb the
steps up and down, so she sold her little ' hoosie,' and there was I. I didn't know
a place to go to, until Mrs. Wisselingh and Mrs. Lessore found me this. I liked
the room the moment I saw it, so here I am set up as a swell. . . . Don't you take
this to be a trap set up for the unwary, you know you're always touching a sore
spot when you talk painting, and drag my suicides before the public, the right name
for potboilers, one has to give up all aim for any good intention, and do the technical
skill and cleverness to please those with halfpennies and farthings in their pocket,
to be favoured to live.

I recollect Swan going to [a certain gallery] with a painting of his. ' Well,'
said [the proprietor], * this may be a very fine and a very nice, but I cannot sell this
sort of thing.' ' What have I to do ? ' 4 Well, you make a little subject. An old
man, for instance, lighting his pipe in his hat,' you see.

I had to do the same sort of thing ; tor no use trying to do anything one is
never sure to succeed. I just got a letter from somebody, saying: but with
potboiling one can make money, money always considered to be the principal. I
told him he was greatly mistaken, when a little honesty remains, one can scarcely
ask anything for them.

I recollect after the war in '71 there were some debts to pay of course : what
had I to do ? I said to Wisselingh who was with Goupil, ' tell them that I'll take
them back later on.' I've never been able to do so, for one Van Gogh, his
partner, gave me 200 francs, someone bought it for 350, and sold it in America for
£jOO. He had asked Wisselingh how long it had taken me to do it ; he said
a week, so I was the chap for him ; no wonder he was always talking making
fortune, fancy £100 per day, make some more or this sort : do it only for a year.
So I had to commit suicides upon suicides : what did it matter to him or anyone
else ? Someone said once to me : ' You must have somebody fool enough to say,
here is money for you, and go your own way ' : that is the very thing one may not do.

There is always someone telling you how to set about, and then come the
schools telling you that it is not allowed to be one's self, but that one has to be a
Roman or Greek, or imitate what they have performed. My first lesson in painting
was : ' What does it matter to you if you sell them turnips for lemons ? Money is
the principal.' So all through life I've heard the same. What a fool you are ;
you can make as much money as you like. Money always first. As Carlyle says :
* If you want to make sudden fortunes in it, and achieve the temporary hallelujah
of flunkies for yourself, renouncing the perennial esteem of wise men : if you can
believe that the chief end of man is to collect about him a bigger heap of gold than
ever before, in a shorter time than ever before, you will find it a most handy and
everyway furthersome, blessed and felicitous world.' But for any other human aim,
I think you will not find it furthersome, ir you in any way ask practically — How a
noble life is to be led in it ? You will be luckier than Sterling or I if you get any
credible answer, or find any made road whatever. Alas, it is even so, your heart's
question, if it be of that sort, most things and persons will answer with a —
4 Nonsense.' Noble life is in Drury Lane, and wears yellow boots, you fool,
compose yourself to your pudding.

I'll be very glad to see you any time you care to come round.

Sincerely yours,

M. MARIS."
This sprightliness no doubt arises from the kindness shown to

B M xvii

FAMILY HISTORY

him by his real friends, Mr. and Mrs. van Wisselingh, who, if they
only could persuade him to produce in paint his exquisite ideas,
would render still further the world of Art their debtors.
An ounce of personal knowledge being worth a ton of second-hand
experience, I think it worth while to relate another personal incident
which took place between Mr. Matthew Maris and myself so long
ago as 1890, nearly seventeen years before the present time of
writing.

I published my quarto book on the Barbizon School of Painters in
that year, a work which had occupied my leisure time for three years
and a half previously. At that period I was a fairly constant visitor to
the studio of Mr. J. M. Swan, whom, from the first, I am proud to
have been able justly to appreciate. I had often spoken of my book
and on its publication I was delighted to receive from Mr. Swan
one of his brilliant drawings of a Lion in exchange for a copy.
This volume lay about Mr. Swan's studio for some time, and Mr.
Matthew Maris, being then a welcome visitor, noticed it and
expressed some interest in its contents. I had only once spoken
with Mr. Maris, but I knew his wonderful gift in painting, and I
was much gratified by what Mr. Swan told me. I had written the
book from the artistic, and not from the literary point of view. I
had not hesitated to sacrifice the nice turning of a sentence if I was
to arrive nearer the truth, and readers of much art-criticism of to-day
will understand what that means. Therefore, to be commended by
so unique a spirit as Mr. Matthew Maris was exceedingly pleasant,
especially after having just sustained some unfriendly comments
by a literary man who considered I was too seriously poaching on
his preserves.

So, after consultation with my much better known friend Mr. Swan,
I resolved to send a copy with a brief note to Mr. Maris and ask his
acceptance of it, and this was duly carried out. A certain time
passed — about a month — and I began to wonder what effect my
offering had had, when, on September 9th, 1890, I received a letter
and a gift.

Mr. Maris had taken the trouble to paint a head and send it to me —
the one reproduced in colour herein (M. 22), under the title Siska —
a canvas measuring fifteen by twelve inches, painted in oil, and one
of his most characteristic later works. The letter accompanying the
gift is one of the treasures of my life, because the artist says of my
book : " I like it because it is generously written and will do some
good," and he concludes as in the following facsimile : —
xviii B M

FAMILY HISTORY

1^ \^ -r^+st- trt^L-e^;

~4~t^- *~~*A+~~*<*'~*t

Within a month I had a second letter from Mr. Marls in reply
to one from me acknowledging receipt of the picture, which, in
view of the mention of another painter, Whistler (with whom, at
the same time, I was in friendly relations), is unusually interesting.
The letter is : —

" Just at the time I got your letter Mr. Angus sent me the Scotsman. You
say some critics have thought it fair to make it the basis of a personal attack, and it
is very critic-like. Critic means knife, means dissection, means wisdom, means
perfection. Art is stupid, art-less. That is a hard job for the critic to understand.
I like your book because it is * stupid,' like Japanese ; which means done for
the love of it in itself; not for gain or success. You don't go to criticise a Japanese
drawing and say it is out of shape, out of drawing, no perspective nor anatomy.
This is only for the critic to show his knowledge by killing the things j those
stupid fellows do harm, like Whistler says, with their learnings. They must have
schools and applications of knowledge. Thackeray calls them scavengers — scaven-
gers are at least necessary, those fellows are for no good."

With kind regards,

Yours sincerely,

M. MARIS.

These simple communications, penned with all the artlessness of
youth, reveal something of the childlike nature of the man.
Written in fairly easy English, they recall the fact that he is the

B M

FAMILY HISTORY

only one of the three brothers who could write our language even
so well.

It is interesting to add that Matthew Maris was in early years noticed
by the Secretary to the late Queen of Holland, and Her Majesty was
induced to provide the young painter an allowance in order that he
might study at Antwerp. Here he worked under Nicaise de Keyser,
sharing lodgings with his brother James and with Alma Tadema.
Matthew Maris was said to be most influenced by Rethel and
Kaulbach, but I cannot myself find much of this influence in the
many works I have seen.

Sir Lawrence Alma Tadema's connection with the two elder brothers
Maris lasted for nearly a twelvemonth. This was in 1855, when
the present eminent Academician was also a student at the Antwerp
Academy. The two brothers, sent, it is stated, by their prudent
father to live together on the allowance granted by the Queen to
Matthew, made a friendly arrangement with Alma Tadema, who
was already established in what he had found to be unnecessarily
roomy apartments. They agreed to take all their meals together,
while, of course, most of their studies were undertaken with the
other students in the Antwerp Academy.

It was a notable combination, these three young and clever artists
living so frugally under the same root. Their experiences are
sufficient to inspire every earnest art student throughout the world.
With little interest in high places more than their talents brought
them, each of these youths has achieved a renown likely to endure
so long as the annals of artists are read. The careers of James and
Matthew Maris are set forth in these pages, and their early comrade
holds the diplomas of every important Academy in Europe, and,
what he probably prizes even more, he is one of the very select band
who form the jealously-guarded Order of Merit.
The personal history of the youngest brother William is remarkable
for its placidity, from the opening up to the full fruition of to-day,
rather than for any striking incidents such as occur in the lives of
the elder brothers.

Born six years after James and four years after Matthew, that is, in
1843, William was very early initiated into the methods of drawing
and painting, and from his earliest childhood was accustomed to
know what it meant to recognise artistic qualities in surrounding
scenes. Even before William was twelve years old he was encour-
aged by his two artist brothers to spend his leisure time in sketching.
Early in the morning, before school hours, he would start out to
xx B M

FAMILY HISTORY

draw the cattle in the meadows, for even from his earliest years
William revealed the characteristic which was to dominate his future
artistic life. The artist, now known for the delicate tenderness of
the tones and colours he introduces into meadowland subjects, began
by instinct to paint what he liked best, for in the artistic world, as
also in most walks of life, what a man likes best he can usually
carry out most successfully.

After school the little boy of less than a dozen years went out again
to sketch — and that he was little, is supported by the fact that man-
hood did not bring him inches in height any more than Matthew,
although he is more robust and sturdy in his figure.
William Maris was nearly twenty-one when he first publicly
exhibited any of his pictures, and it was at The Hague, about 1864,
that he sought the patronage of the public in this way. Two
years later he made his first excursion out of Holland and went up
the Rhine — a wonderful voyage amongst mountains breathing
song and story, along a fairly fast-flowing river — a striking contrast
to the sluggish waters of Holland and the somewhat prosaic flat
meadows of his fatherland.

In 1 876 William made a further excursion, this time to the winding
fiords and mountain crags of Norway, but somehow these foreign
lands had little artistic charm for him, and he never painted any of
their scenery.

That the artistic reputation of William Maris has not reached the
height of either of his brothers can be accounted for in several ways.
In the first place William Maris, as the youngest of the trio, has
not been so long before the artistic world, and, therefore, has not
had so long a time in which to reach the altitude of his brothers.
That this means much to a reputation in the arts is the common
experience of artists. Painters whose greatest quality is subtlety of
tone are never understood for many years after the production of
their best work. It has been the same in the career of James Maris
and of Matthew: little wonder, therefore, if it also is the experience
of the youngest of the three painters.

Another reason for the smaller reputation ot William is that his
aims are not so exalted as either of his compeers, and if he aims less
high it may be certain his best achievement does not rise so far.
The general character of his pictures, both in oil and water-colour,
is less masculine in quality than are the achievements of his elders.
He prefers rather to dally with the meeker varieties of green land-
scape, trees, grass, rushes, than to fight with the powerful tones of the

B M xxi

FAMILY HISTORY

horses hauling a canal boat, or ploughing a heavy field, or the bold
mass of a great windmill strong and mighty against a cloudy sky.
Again, the very fact that he is third of the name in the same genera-
tion militates against his personal success in the highest walks of his
art. Had he been of another family stock it is not at all improbable
that, like Anton Mauve, he would have obtained more easily a
reputation of the highest class.

All this, however, is not to be taken to mean that William Maris,
as an artist, is in every way inferior to his brothers. Many there are,
in Holland chiefly, but also a few in Britain and America, who con-
sider William Maris in most essentials an artist of equal merit to
James and Matthew. Although I do not myself care to enter this
category, I recognise fully and frankly the exquisite quality of his
work, the wonderful grey-green tones of which he is fond, and the
general masterfulness of his creations.

Before leaving Mr. William Maris, I would like to say that the
personal charm of the artist is great. It is sweet to see him, as I
did in September, 1906, amidst his children and friends, loving and
being loved by them all ; one of the most courteous of gentlemen,
aware no doubt of his own importance in the world, but too sensitive
and modest to assert himself unduly.

I conclude this portion by giving a facsimile of the last paragraph
of a letter the artist wrote to me in March 1907. The language is
that of his native land — Holland, the only tongue he properly knows,
and he expresses a hope that the answer to an enquiry I addressed
to him will be sufficient for my requirement.

XX11 B M

M 1 MATTHEW MARIS

•THE CHRISTENING." FROM THE

COLLECTION OF E. B. GREENSHIELDE, ESQ.

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"THE KING'S CHILDREN"

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IN THE MESDAG MUSEUM. THE HAGUE.

M 4 MATTHEW MARIS

AN EARLY STUDY. FROM THE COL-
LECTION OF MADAME E. J. VAN WISSELINGH

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"THE FLOWER." FROM THE

COLLECTION OF R. B. ANGUS ESQ.

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M 12 MATTHEW MARIS

A STUDY. IN THE MESDAG MUSEUM,
THE HAGUE. PHOTO. KLEINMANN

M 13 MATTHEW MARIS

" FEEDING CHICKENS." FROM THE COL-
LECTION OF THE RT. HON. SIR JOHN DAY

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MATTHtW MARIS .

BY PERMISSION OF MESSRS. THOS.
AGNHW * SONS * MHSSRS. WALLIS & SON

M 15 MATTHEW MARIS

"A MARKET SCENE." FROM THE COLLEC-
TION OF J. J. BIESING, ESQ. PHOTO. KLEINMANN

M 16 MATTHEW MARIS

"SOUVENIR OF AMSTERDAM." BY PER-
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"A FANTASY." FROM THE COLLEC-
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MATTHEW MARIS

FROM THE COLLECTION OF
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A STUDY. FROM THE COLLECTION
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"THE BRIDE OF THE CHURCH." IN THE

MESDAG MUSEUM, THE HAGUE. PHOTO. KLEI N MAN N

M 26 MATTHEW MARIS

" UNDER THE TREE." FROM AN ORIGINAL ETCHING LENT

BY THE ARTIST. PUBLISHED BY MESSRS. COTTIER & CO.

M27 "BABY"

MATTHEW MARIS

FROM THE COLLECTION OF JOHN G. URE, Esq.

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M 28 MATTHEW MARIS

"COTTAGE SCENE." FROM THE COLLECTION

OF C. D. REICH, ESQ., JUN. PHOTO. KLEINMANN

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"THE SISTERS." FROM THE COL-
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M 31 MATTHEW MARIS

"THE LADY WITH THE DISTAFF." FROM AN
ORIGINAL ETCHING PUBLISHED BY MESSRS. COTTIER & CO.

METHODS OF OIL AND WATER-
COLOUR PAINTING.

HE pictures of James Maris, both in oil and
in water-colour, are marked by a masculine
grasp different from, and far in advance, tech-
nically, of either his own brother's work or
that of any of his contemporaries.
His paintings in oil are so strong in colour
and in tone as to be practically unique in land-
scape painting. Figures he usually introduced
into his compositions, often only a man half-
hidden in a boat or on horseback, and although he occasionally essayed
a picture of a figure alone, seldom with entire success.
It is difficult to decide wherein James Maris had affinity with other
painters. Delacroix was, at least, of something of the same way of
thinking, and Constable, when he employed his palette knife,
achieved, in another way, a similar result. Turner, in his oil sketches,
produced a picture of the same style now and then, and perhaps
the archives of the National Gallery will further disgorge more
hidden treasures of this character.

The plein air French school, with its more or less pit-a-pat tech-
nique, never reaches the tonal quality of a James Maris, and the
great artists of the Scottish School, W. M'Taggart and Sam Bough,
are too indifferent to a complete ensemble to rival him, although the
first-named painter occasionally reaches an almost similar strength of
colour.

Had Velasquez studied landscape as carefully as he studied portraits
and figures he would probably have painted in the manner of James
Maris, so at least is conveyed by the somewhat meagre attempts he
has left. It is quite certain, also, that the painter of the Toung Man
in a Flap Cap, at Cassel, and a hundred other triumphs, Franz Hals,
would have been James Maris' most powerful rival, had he not lived
at a time when landscape painting received little real attention. And
the reader is not to think I am placing too high a comparative value
on the artist we are now discussing, for the secret of the extraordinary
advance in the estimation of the artistic world of James Maris' work
lies in the fact that its quality is of the very highest, and that it is
well worthy to be placed equal amongst the masters just mentioned.
e xxiii B M

METHODS OF PAINTING

But the painter to whom James Maris is most closely allied is
Rembrandt in his later works. In this case our modern master has
to bow his head — and very low — to the great Hollander of two
centuries previous. No one can ever hope to successfully compete
with the glorious tone and rich quality of the greatest painter who
ever lived, and even a James Maris appears comparatively cold
beside the glory of a Rembrandt. Yet who can tell what the tone
of a Maris may be after the patina of two hundred years appears
upon it ?

Even in our own time the tone and colour of James Maris' oil
paintings have modified in a most wonderful way. I remember
quite well the extraordinary freshness of paint in the famous picture,
of which an illustration is printed, The Bridge (J. 20). It was in 1885
that this great composition (for which a number of preliminary
sketches, studies, and small works had been prepared), was completed,
and when it passed, fresh as morning dew, into the collection of
J. S. Forbes, I had every opportunity of seeing it and discussing the
quality of the work with its owner.

The whole sky and foreground were palpitating with new colour —
it was almost crude ; very, very rough, and " painty " to a degree.
I recollect especially the blue paint on the milk pails of the
dairymaid, for they seemed to be about a quarter of an inch thick
and of pure unmixed colour. So much did these facts impress me
that I almost questioned Mr. Forbes' taste in choosing so vividly
painted a picture. The collector knew that " I had my doots," but
he also knew that up to that period I had not seen many works
of James Maris, and, in any case, had not studied them in the
thorough manner he had.

The artist told me, and experience has confirmed its truth and
wisdom, that he painted with the idea that no one should examine
his work closely for about ten or twelve years after it was painted ;
that a picture is destined to last several centuries, at least, and therefore
the first dozen years are of no great consequence in its history. If a
painter can accurately judge of the effect of this maturing period
and paint so that his work will have reached its proper quality in
such time, it is certain his works have a great future before them.
The works of James Maris have all the rest of the centuries in
which to shine when once they have attained — as they do attain —
the quality and tone of a great master.

It is only the later pictures of James Maris which have undergone
this remarkable ripening process, and it is possible that the knowledge
B M xxiv

METHODS OF PAINTING

of how to prepare for this only came to him as time went on. James
Maris' early pictures have an allied tonal quality, but it is evident
they are produced with much greater labour, are more " finicking,"
and far less free than his pictures of about 1878 and onwards.
In water-colour the same criticisms do not hold good. Now and
then James Maris produced drawings of intense green and almost
crude in quality, and these have not greatly altered, although, of
course, they too have modified a little as time goes on. Many of
the subjects were painted both in oil and water-colour, and this
dilerence of simple vividness of paint is readily noticeable. But the
majority of James Maris' drawings have been produced with a clear
knowledge of the limitations of water-colour, and the harmony of
tone is striven for, and is, I contend, obtained from the first.
In some other water-colours, James Maris has employed the medium
almost as if it were oil, and by a combination of solid colours — a
kind of tempera or body colour — has so far succeeded. But some
of the high lights have greatly altered, and in one case, in the
Glasgow permanent collection, the white has changed to nearly
black. There is always an attractiveness about James Maris' water-
colours, however, that secures them honour from the collector,
and several herein illustrated emphasize this beyond question.
The methods of William Maris are more traditional, while his pictures
possess such exquisite tones and painting qualities as render them
specially acceptable to the collector of to-day. Until recent years,
William Maris has painted in what may be termed the ordinary
methods of the Dutch School. But within the past ten years these
methods have developed a firmness and dignity which place him daily
higher in the estimation of the artistic community.
In his early days he was helped and encouraged and also scolded
by James, who had also never spared his younger brother Matthew if
words would drive him. William's earliest lessons — first, of course,
in drawing only, but later with colours also — were given to him by
James and Matthew, but these lessons must have been mainly
theoretical, for there never can be traced in any of William's
work the influence of either of his brothers' methods of production.
Nothing, in fact, could be more different in result, and the reproduc-
tions in this publication will show this even to the least initiated.
Unlike his brothers, William had no training at an Academy, and he
trusted greatly to his intuitive love for his native Netherlands, and
studied solely through its charms. In summer he spent all the time
in working out of doors in the fields and meadows, and in the winter

xxv B M

METHODS OF PAINTING

in sheds and stables studying the cattle. He went often over the
borders of Holland into the small village of Calmpthout in the
kingdom of Belgium, about a dozen miles north of Antwerp.
There he loved to paint on the moors, and he speaks with pleasure
of the joy he found in working there. He takes pride in pointing
out that while his two brothers went to study first in Antwerp and
afterwards in Paris, he was his own master after his first brief lessons
from his brothers.

The artistic productions of Matthew Maris are, in every way
different from those of his elder and younger brothers. His
personal influence is clearly visible in the pictures of James, but
the influence of James is never perceptible in the works of Matthew.
After the two elder brothers separated — about 1871 — the artistic
influence of Matthew over James quickly decreased, and before very
long altogether vanished, the natural vigour of James' brush work
soaring far away from the more exacting and more timid execution
of Matthew.

Judging from these facts alone one comes to the conclusion that
mentally Matthew is the greater power, and that even amid all
the urgings of the elder son of the family to his brother to produce
pictures more assiduously, James felt the artistic greatness of his
junior, and quite unknowingly bowed before it. In any event the
fact is obvious to an examiner of the pictures by James Maris up to
1872, that a subtle influence has been at work prevailing on the
painter to modify his tendency to paintiness, to make his tones more
grey, more infinitely varied in quality, less prosaic, and therefore
more spiritual and poetic.

It is no reflection on the elder brother to say that he sought the
higher flights of far more powerful brush work ; for, as I say
elsewhere, no artist ever displayed more vigour in paint than did
James Maris.

But in dealing with the art of Matthew, it is intensely interesting to
find the result of the brothers painting together was that the more
poetic mind proved the more influential of the two, and that the less
vigorous, because more subtle, artist was acknowledged the greater
painter of the moment.

All the early works of Matthew Maris reveal the tender qualities of
his nature. The canvases themselves are never large in dimensions,
whatever bigness may be indicated in the composition, and as a rule
this bigness is marked, although the actual measurements of the
subjects are comparatively small.
B M xxvi

METHODS OF PAINTING

Take, as example, the early picture of the artist, the Souvenir of
Amsterdam (M. 1 6). This measures only 1 8 ins. by 1 3 ins., less than
half the area of the famous Angelus^ and little more than what is
usually termed a cabinet picture, i.e. one that may be taken on the
knee and looked at closely.

Yet it is no exaggeration to say that this small canvas contains the
essential features of the great Dutch city with its good half million
inhabitants. The tall houses, the canals, the " ophaalbruggen" tower-
ing over everything — as the bridge always does, and must do, in a
land under the level of the sea — the distant buildings and shipping.
Everything (except the diamonds, which, however, are perhaps
reflected in the colouring) that the commercial Capital of Holland
says to the visitor is concentrated on these few square inches.
I wanted to discuss this picture with Mr. Man's, for its golden-
brown colour went straight to my heart from the moment I first
saw it, now many years ago, but the artist would have none of it.
" Only a pot-boiler, made to coin a little necessary money, and one
of my suicides/'

But nothing, said even by the man who produced the work over
thirty years ago, could discount the charm of the picture to me, and
my reply to the artist that it was a masterpiece of the first order
came direct from my heart and brain.

As a complete contrast, let us take the reproduction of my own
picture — Siska (M. 22), as I named it, when a name had to be
provided for a catalogue at the Guildhall, in 1903. This picture,
rich to me in its associations with the painter, the free gift of a
Heaven-born genius to one who limps in a mundane manner far
beneath, is a typical example of the later phase of the master's art.
Like a glimpse of colour, blown on a piece of canvas — a dream, a
vision, if you will, of something after which the artistic soul has
longed without complete realisation, an aspiration after the beautiful,
complete in tone and harmony. No poor words of mine can ever
convey to the unsympathetic what this means to me and others who
think with me, but to the spirit who understands — how delightful,
how soothing, how wonderful . . . ! !

Let me conclude this account of some of the methods of Matthew
Maris by a lengthy quotation from a letter the artist has written me
in connection with the present publication. It has no direct
bearing on his manner of work, but it reveals the extraordinarily
involved style of thought natural to the artist, and it frankly
expresses his own meagre opinion of his own achievements : —

xxvii B M

METHODS OF PAINTING

" I had no head for money, and then everything was ruled by it. Besides of
all things I hated and detested was painting. They told me I had a talent for it,
and was a clever chap and could make as much money as I liked. Money always

the principal thing and so it happens that I got forced into it Being

considered a very clever talented chap, after the war or siege of Paris, a young fellow

of the name of Vincent van Gogh came around asking me for advice The

same time I was acquainted with a sculptor by the name of Dubois, he came
around in despair — didn't know what to do — was going to be sold up. I did not
advise him to hang himself, but to go about worshipping c the pot,' making little
subjects of statues, but before he could execute this most valuable advice in working
order, they sold everything he possessed, his bed, his wardrobe, his work, his tools.
He expected the Government to buy his statue because they had provided him with
the marbre^ but having been born on a different spot of the globe, so not considered
belonging to the same specie as themselves, left him in the lurch — money the
principal ! So there he was without a home, without all necessaries. On a cold
winter's night in February he slipped on the frozen snow, broke his leg, was carried
to the hospital and well cared for. But then, when he got better he stared about
like a criminal coming oijt of jail — money the principal — no money, no friends !
He told me so himself. Somehow or other he fancied that perhaps among his
compatriots someone might be found to assist him in a way for the time being, and
went to The Hague where he was not long before he threw himself out of a
window — unsound mind, of course! .... * Au riche ' (I read somewhere) <les
parents pleuvent de toute part. Sa maison toujours en fourmille : et souvent le
pauvre est batard au sein me'me de sa famille.' The law of the pocket c full '
signifies < rich ;' empty * poor,' all the world over the same ; black, brown, yellow or
white skinned. Heathen, barbarians, Mahommetans ; pocket full, * power ' — empty,
* helpless.'

"In * The Arabian Nights' there is a chap whose full pocket ran empty, so he
set about lamenting his fete, declaiming ' Poverty causes the lustre of a man to
depart like the yellowness of the setting sun. When absent he is not remembered
among mankind, and when present shareth not their pleasures. He shunneth the
market streets, and in desert places poureth forth his tears. By Allah ! a man
among his own relations when stricken with poverty is as a STRANGER ! Steal,
swindle, sweat, plunder, murder, loot, horserace, gamble, bet, cheat, — always pocket
full — representing power, representing freedom, representing bread, representing
comfort. I wonder what justice would have to say if a Carpenter nowadays would
take a rope with knots going about thrashing the money-grabbers or full-pocket
ones ? Well baptised in the Lord as they are."

Occasionally, while in Cottier's studio, Matthew Maris interested
himself in designs for stained-glass windows. In one solitary instance
he painted, on the glass itself, a marvellous figure of golden brown,
rich as a deep-toned jewel. This unique piece adorns the doorway
of Mr. J. G. Ure (at Helensburgh, on the Clyde) who is always
proud to speak of it. In daylight it is best seen from inside the hall,
and at evening from the exterior, with the artificial light behind,
and it lends a dignity and charm to the doorway that cannot be
surpassed.

B M XXVlll

MARIS PICTURES IN AMERICA.

N the United States there are many admirers
of James and William Maris, and several of
their principal pictures are there, notably the
famous picture of The Bridge (J. 20), by
James, which is more than once mentioned
in this work. This splendid picture was, in
1906, acquired by Messrs. Knoedler & Co.
from the Alexander Young Collection, and is
now in the gallery of Mr. H. C. Frick, one
of the most enthusiastic and intelligent collectors in New York. Else-
where I further refer to the love in certain quarters of the United
States of the works of the Brothers Maris.

In Canada, also, the quiet good taste of the sagacious collector,
assisted, no doubt, by the strong Scottish strain in his surroundings,
has led to the works of Matthew Maris being more sought after than
the others, and a number of his finest subjects have found a permanent
home there amongst the most celebrated treasures of a thoroughly
art-loving community.

It is not yet generally recognised, yet it is a fact which will have
considerable weight in the art markets of the world in days to
come, that, after London, Paris and New York, Montreal is the
most important artistic centre for art of the finest quality. For
thirty years and more there have been growing in Montreal collections
of pictures which can hold their own with the best. The collections
of Sir George Drummond and Mr. James Ross, together with those of
Sir William van Home, Mr. Angus, Mr. Wilson and Mr. Greenshields,
to name only the most prominent, would-be centres of attraction in
Mayfair, or Pare Monceau, and there are no collections comparable
to them amongst the academic gatherings in Berlin or Vienna.
We have been specially favoured by having been able to obtain photo-
graphs of a number of the Montreal pictures of Matthew Maris,
some of which are reproduced amongst our illustrations. These I
have mostly received through the kind help of my friend Mr. F. R.
Heaton of Montreal, to whose sympathetic conversations I owe
much in the preparation of this volume. No one is gifted with a
keener instinct for the best in art, and his lead to his fellow citizens
is likely to carry far-reaching effects on the knowledge and apprecia-
tion of art in the prosperous Dominion.

Sir George Drummond has the finest Turner water-colour drawings,

xxix B M

MARTS PICTURES IN AMERICA

and one of the two finest Daubignys and Corots in Montreal, and
Mr. Ross possesses the other great Daubigny and the finest Reynolds
(Sylvia) and Turner picture ; Mr. Angus the best Raeburn and
Mr. Greenshields possesses the chief Matthew Maris, the large and
very important picture (26 by 20 inches) painted in 1873. The
reproduction of this picture — The Christening (M. i) renders the
arrangement of its tonal qualities fairly well, but nothing can give
the rich brown colour, the red, and the beautiful sky. It was one of
the pictures acquired through M. van Wisselingh by Goupil.
Mr. Greenshields, of Montreal, takes some natural pride in possessing
this remarkable picture, for its first owner, Mrs. Lorillard Wolfe, was
a considerable purchaser of works of art, and she left her collection,
which, however, is a little mixed, accompanied by a considerable
endowment, to the Metropolitan Museum of New York.
The other pictures in Mr. Greenshields' collection are the Boy with
a Hoop, painted as early as 1863, in tones of yellow brown, and more
interesting than intrinsically beautiful ; The Yoke of Oxen of about
1870 with fine strong colour, and The 'Dreamer of 1887 in lovely
delicate golden-grey tones which are almost impossible to reproduce.
Sir George Drummond's Shepherdess (M. 6), is very little, if
any, less fine in colour and general harmony, but the subject is,
perhaps, less immediately attractive. The tone, in fact, is in some
ways so subtle that it requires long acquaintance with the work to
know it thoroughly, while nothing can excel its quality of work
which is of the most distinguished character, marking it as a picture
of the first order. The owner relates with much pleasure the unex-
pected way he came across this picture, which his keen eye
discovered amidst the most unlikely surroundings.
The figure subject, the property of Mr. R. B. Angus, of Montreal,
is well shown in the illustration (M. 7). Amongst other pictures
in that city are a landscape, the property of Messrs. Scott & Sons,
one of the most choice examples of the master, and At the Well,
belonging to Mr. Summer, of Montreal, although not so important,
is a work of the first quality. There are other pictures by the
Brothers Maris in both Canada and the United States. In the latter,
however, the wrorks of James and Matthew are very little known,
and there are no examples of the first rank in any of the excellent
art galleries throughout the land of the Stars and Stripes. Perhaps
someone will arise and try to emulate Mr. Freer, of Detroit, and
his Whistler collection. A group of Matthew Maris' works would
be a most excellent corollary.
xxx B M

W 1 WILLIAM MARIS

" IN THE SHADE." BY PER-
MISSION OF P. J. ZURCHER, ESQ.

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N the course of the preceding narrative reference
has been frequently made to the examples of
the three artists' works, but it is convenient
to give a fairly complete description and
criticism of the pictures, in a more connected
form than is possible while dealing with the
personal history, and artistic careers, of the
painter.

I shall take the natural course of considering
first the works of the eldest of the group even although, as may
already have been understood from the preceding text, I am per-
sonally most sympathetic with the pictures and drawings of the
second brother, and, otherwise, might be disposed to treat of
them first.

It has been no easy task to decide which of all the pictures to which
access has been obtained should be chosen for reproduction, but great
care has been taken to vary the subjects as completely as possible. A
number of justly celebrated pictures by both James Maris and William
Maris are so very similar in design that in black-and-white reproduc-
tions it is difficult to appreciate the great variations which really exist
in the originals.

It may be said that the Bridge and Lock of the Dutch Canals, with
or without a Windmill, were the favourite themes of James Maris,
as Meadows and Cattle are of his youngest brother. Mathew's
individuality is marked by an absence of strong preference for any
one composition. Yet most artists have distinct leanings towards
subjects specially sympathetic to their natures. Hobbema, for
example, loved to paint a water-mill, Ruysdael a waterfall, and
Cuyp the meadows of Dort on a summer evening. Later landscape
men were ruled in the same way, Constable by Dedham, Turner by
Venice, Corot by Ville d'Avray, and Whistler, in his early years, by
the Thames.

In the selection of the following illustrations the favourite subjects
of our artists are duly represented, but care has also been taken to
display the width of their sympathies by reproducing a variety as
large as their works permit.

f B M xxxi

EXAMPLES OF THE WORKS OF THE BROTHERS MARIS.

ILLUSTRATIONS AFTER JAMES MARIS.

Beginning with the four reproductions in colour from paintings by
James Maris, we have characteristic examples in three cases of his
later work, and in the second plate, Entrance to the Zuider Zee (J. 9),
a picture of earlier date.

The latter remarkable picture, painted in 1873, is one of the finest
works of the artist, and in point of beauty of design and brilliancy
of colour has never been excelled. The reproduction, necessarily, is
unable to give anything like the complete charm of the original
canvas, which measures nearly three feet long, but the modern process
is so well carried out that a very fair idea can be obtained of the
tone and quality of the picture.

The subject is much more panoramic than James Maris undertook
in later years, and it is possible that the design was, to some extent,
inspired by his brother Matthew, who, in several notable works, has
given similar largely extended scenes. Artists and art stu-dents will
remember that in their early days they were disposed to make
panoramic views, and this method of making a picture is one that
has great attractions for the young.

It seems as if it were only in later life that the artist begins
thoroughly to understand the immensity of nature, and content
himself with a less extended subject. Constable in his early
pictures, Turner in his water-colour drawings (although it is notable
that this master carried his panoramic views into later life), Corot,
as well as Rembrandt, all sought for inspiration through panoramas
in their earlier days.

This view of the Zuider Zee with the boats sailing on the pearly
water and the clouds floating in the atmosphere, which can be felt
without being found to be exaggerated, was the gem of the collection
of Mr. Alexander Young, and a picture of which that acute collector
was very proud.

The other three plates in colour are simple subjects, the Gateway
at Haarlem (J. 3) being a reproduction of a picture very little
bigger than our illustration. The Windmill (J. 17) is somewhat
larger, but nothing like so great in dimensions of canvas as James
Maris often painted the same kind of subject. Ploughing (J. 27), a
work immensely difficult to reproduce satisfactorily, is very
brilliant in atmospheric effect, and a picture which should be
carefully studied by the student. The simplicity of the composition
is very apparent. The long lines of the ploughed field leads
to an horizon which is absolutely flat ; no indication even of a
xxxii B M

EXAMPLES OF THE WORKS OF THE BROTHERS MARIS.

sand dune is visible, and the grand lines of a mountain side are not
required by this competent artist to make what is in every way a
great artistic work.

Of the illustrations in black-and-white, journalistic exigencies have
made it necessary to arrange the subjects without definite attention
to their dates of production, and this is preferable because it shows
the reader at once the immense variety of work the master
crowded into his life. It will be observed that James Maris
frankly accepts the subjects which are laid to his hand — he paints
nothing but what can be found in Holland at the present day, and
lands foreign to Holland have never been able to induce him to
portray their landscape or their inhabitants.

Windmills play an important part in many of his arrangements, the
composition of The Five Windmills (J.» 2) being one of his greatest
works. This picture, painted soon after the Entrance to the Xuider
T^ee^ is bathed in the pure daylight of Heaven, and this with its sense
of quiet industry and dignified toil raises it to the level of a master-
piece.

Occasionally James Maris has painted figures : The Toung Mother
(J. 4), a picture of 1868, is one of the least markedly Dutch subjects
the painter has treated. The portrait of his own children — that of
the girl on a sofa (J. 21) from the Donald Collection in Glasgow,
and the child with a peacock-feather (J. 25) represent a kind of
subject the artist liked to realise when painting indoors at home.
Mr. Beattie's landscape of Dordrecht (J. 5) is a picture particularly
well known in Scotland, where it has been frequently exhibited.
The Fisherman, reproduced in photogravure (J. 6), is a work of 1869,
of a cool-grey colour.

Sir John Day's magnificent examples of A Stormy Day (J. 8) and
Ploughing (J. n), together with The Towpath (J. 14) and Amsterdam
(J. 31), and also his canvas of the artist's early work At the Well
(J. 15), are all pictures of great artistic quality, the windmill
example being particularly strong.

The now famous James Maris (J. 12), in the Rijks Museum,
Amsterdam, is probably a composition by the artist from various
places, the general aspect being that of Amsterdam itself. Mr.
Preyer's river scene (J. 13) is a little picture which will continue
to grow into finer and finer colour, as has been the manner of the
works of this artist, and as has been especially the case in The
Bridge (J. 20), about which I have written earlier in this volume.
From the Donald Collection in the Glasgow Art Gallery is a

B M xxxiii

EXAMPLES OF THE WORKS OF THE BROTHERS MARIS.

reproduction of a wonderful water-colour, A Dutch Town (J. 16),
a work which, however, has begun recently to show signs of
deterioration, for certain black spots to the right of the sky are,
to all appearance, produced by changes in the paint. Mr. Arthur
Kay's river scene (J. 24) is just such a strong picture as one would
expect this competent connoisseur to possess ; and Messrs. Goupil's
Wharf (J. 29) is one of those strongly marked, characteristic pieces
such as has frequently passed through their hands.
These illustrations may fairly be taken to cover the chief charac-
teristics of the art of James Maris. The artist was a very prolific
painter, especially in his later life, but he was never a hasty worker,
however fresh in colour and unfinished his pictures appeared at
first. Now that the tones of time are revealed, the complete
intention of the painter is apparent.

ILLUSTRATIONS AFTER MATTHEW MARIS.

Although we have been able to get together a larger number of
reproductions after Matthew Maris, this has only been accomplished
after considerable difficulty, there being a much more restricted
number from which to choose, and also a reluctance in the minds of
certain collectors, who prefer to keep their treasures to themselves.
Of the illustrations in colour, the plate from my own picture of
Siska (M. 22) has already been mentioned in some detail. The
Christening (M. 14) is from a water-colour very different in treat-
ment in every way from Mr. Greenshield's picture of the same title
(M. i) which also has been fully described in an earlier page. A few
glances on the subjects will show the difference of treatment between
this artist and his elder brother. When Matthew Maris paints a
landscape, even with windmills such as in Sir John Day's noble
picture (M. 24), he treats the subject in an ethereal way far above
the forceful but mundane treatment of the other. Moreover,
Matthew Maris introduces into most of his subjects a sentiment and
charm which places them in a category by themselves.
The drawing which Mr. Maris was kind enough to lend for repro-
duction in this work (M. 1 1) is a sketch made a number of years ago for
possible use in a stained-glass window. It was no easy task to render
successfully this singularly interesting study, but the artist, by over-
looking the proofs, gave valuable assistance to the lithographer.
Of the four plates in photogravure Mr. Andrew Maxwell's L? Enfant
Couchee (M. 17) is one of the most interesting ; it reminds
one of Mr. Burrell's Butterflies (M. 5), and it would be invidious
xxxiv B M

EXAMPLES OF THE WORKS OF THE BROTHERS MARIS.

to say which is the finer work. Both belong to Glasgow
collectors, and have more than once been exhibited in Scotland, to
the great delight of the artistic community there. Sir George
Drummond's Shepherdess (M. 6) is one of the most beautiful of the
artist's early pictures, and was painted about the same time as
Sir John Day's marvellous piece of colour Feeding Chickens (M. 13)
and Mr. Angus's delightful canvas of The Flower (M. 7). Baby
(M. 27), for which one of M. Jules Lessore's children sat, belongs to
Mr. J. G. Ure, of Helensburgh, a fervent admirer of the two elder
Brothers Maris, and possessor of fine pictures by them.
The study belonging to Mdme. Van Wisselingh (M. 4) is one of
the exercises which brought the young artist so early under the
notice of his Sovereign ; and the Head of a Sheep (M. 12), from the
Mesdag Collection, is about the same period. Mdme. Van
Wisselingh's Fantasy (M. 20) strongly introduces the element of
Romanticism such as we find in practically every one of Matthew
Maris's later works. The King's Children, from the Mesdag
Collection (M. 3), The Prince and Princess (M. 10), together with
the dreamlike representations of The Castle (M. 2) and the landscape
from the Mesdag Gallery (M. 19), are all full of a sense of poetry
and romance which must be felt to be understood.
Very similar in design to Mr. Crathern's picture (M. 2) is the etching
of the same subject from which we make the reproduction by per-
mission of the artist (M. 29). Matthew Maris in earlier days
produced a number of etched plates, the most important being The
Sower, after J. F. Millet. Only a small number of the proofs were
printed, and the impressions are scarce ; a combination of the
poetic charm of Matthew Maris with the stern realism of the
Barbizon master must make the plate in every way a remarkable
one. Matthew Maris also etched a number of small plates about
the same size as the three reproduced here (M. 26, 29 and 31),
Messrs. Cottier being the publishers.

The reproduction of the Souvenir of Amsterdam (p. 1 6), a composition
of which I have said something in an earlier chapter, will help one
to realise the marvellous charm of this, to my mind, the finest of all
the landscape works of the master.

It should be mentioned that the Premier, Sir H. Campbell
Bannerman is the happy possessor of one of the largest of Matthew
Maris's landscape pictures, and it may be remarked that hard-
headed but gentle-hearted Scotsmen appear most susceptible to the
attractions of this painter.

B M xxxv

EXAMPLES OF THE WORKS OF THE BROTHERS MARTS.

ILLUSTRATIONS AFTER WILLIAM MARIS.

The illustrations of the works of William Maris are smaller in
number, but they show every phase of the artist's work.
The water-colour of The Watering Place (W. 3) and the oil-painting of
The Family (W. 9), both produced in colour, are characteristic of his
best style in these mediums. The water-colour drawing is parti-
cularly successful, and the reduction from the original not being too
great, the method of laying on the water-colour is clearly per-
ceptible.

Sir John Day's two pictures, Springtime (W. 6) and Cattle in Pasture
(W. 7), display the tendency of William Maris' beautiful art, the
tone and quality being what the painter desired specially to express.
Much stronger, and therefore more easy to show in black and white,
are the pictures In the Shade (W. i) and By the Stream (W. 4),
the first to be compared with Milking Time (W. 1 1), a little further
on, wherein the leaves flutter, and here and there fall to the ground
in the evening breeze. The Duck pictures of William Maris
(W. 2 and 5) reveal another branch of the artist's studies, and
one in which he has been notably successful.

xxxvi B M

THE INFLUENCE OF THE BROTHERS
MARIS.

N such a chapter it is only desirable to hint as to
what may possibly take place in the future as
the result of the markedly strong work of
these artists. In matters of tradition in art it
is certain that the influence of a great artist is
not immediately perceptible. Rembrandt had
a regular school of pupils, but his apparent
influence did not last long even with the men
who deliberately imitated him. There is, for
example, a picture by Govert Flinck which is a portrait of Saskia,
the inmate of Rembrandt's house. This picture is so similar in
arrangement and general treatment to Rembrandt's work of the
same period, that it may justifiably be mistaken for the genuine
brush work of the greatest of the Dutch painters.
But there is another picture — a portrait of a young girl also — by the
same artist, Govert Flinck, dated four years later. This second pic-
ture shows nothing of the colour and tone of Rembrandt, and, in
fact, Flinck has gone back to his own uninspired method of work,
in which comparatively little interest can now be felt.
This goes to show, therefore, that the influence of an artist is often
not very strong, and even if it is powerful one season, in a few
years it may have nearly worn off ; or, on the other hand, it may
have assisted the pupil to develop a style of his own, even although
his earliest works, done under tutors, display a strong tendency to
imitate the instructor.

One of the most notable instances of the influence of teachers over
pupils is the well-known and often-discussed traditional feeling
exhibited in the works of the divine Raphael.

In his first pictures Raphael reproduces in an almost slavish degree
the drawing and colouring of his master, Perugino. So much is this so,
that in certain works it is exceedingly difficult to distinguish one from
the other. Yet no one dreams of reproaching Raphael for this, but
observes with interest his rapid development into his own refined,
if somewhat laboured, manner of work.

The influence of William Maris has not yet had time to show itself,
and it may be said of James Maris that he does not appear to have
any direct imitator, or any very pronounced follower in his method

B M xxxvii

THE INFLUENCE OF THE BROTHERS MARIS

of painting. But his influence has been, and is, very great, especially
amongst those whose instincts lead them to endeavour to paint with
fine tone and colour. In Scotland especially has James Maris' in-
fluence been enormous, several clever, capable artists often working
consciously or unconsciously, greatly in the same tradition. No
reproach to these fine painters is intended, but only a hint that they
can now afford to " gang their ain gait," as their own countrymen
would say.

American and Canadian landscape painters also show a strong
disposition to follow in the same method of painting, and it may
generally be said that the influence of James Maris is increasing
rather than otherwise.

As to the influence of Matthew Maris, I fear it is almost
hopeless to follow it. His art is so subtle, so elusive, and so be-
witching, that it is practically impossible to lay a finger on the place
where its influence is visible. We know that in the early seventies
Matthew greatly influenced James Maris. Also I know that Mr.
J. M. Swan in his mountain pictures, achieved during his special
intimacy with Matthew, showed a tendency to follow the teaching
of our artist, who was then constantly visiting the studio in Acacia
Road. But direct imitators Mathew Maris has, as yet, practically
none.

This master, one of the seers of the century, and a recluse resident
in one of the most populous districts in London, has painted almost
always his own ideas as compositions, and has practically avoided the
obvious amongst his surroundings. Save when, in his early days,
perforce painting for what he terms " the pot," the subjects of
Matthew Maris have been crystallisations of his dreams. Blown on
the canvas, as it were, with practically no trace of the machinery
of paint visible to distract, all the pictures of this mystic artist have
soared to a height above the more material arrangements in his
brothers' work. He has sought and found his inspiration from the
least tangible of his surroundings, or from his heaven-born gift of
exquisite dreams such as never materialise except to the seer whose
life is hardly of this world at all.

D. CROAL THOMSON.

XXXVlll B M

NUMERO SPECIAL D'ETE

(1907)

LES FRERES MARIS

(Jacob - Matthis — Wilhelm)

PAR

D. CROAL THOMSON

Pages.

Introduction i

La Peinture hollandaise moderne vn

La Famille des Maris ". . xi

Peintures a 1'huile et aquarelles xxm

Les tableaux des Maris en Amerique xxix

Types des ceuvres des freres Maris xxxi

Influence des freres Maris xxxvn

FAC-SIMILES EN COULEURS

« Porte a Haarlem » J. 3

« Entree dans le Zuider Zee » J. 9

cc Le Moulin y> ...... J. 17

« Le Labour » J. 27

PHOTOGRAVURES

« Le Pecheur » J. 6

(( Chemin de Halage » J. 14

« Scene de Riviere ):> J. 24

« Le Canal » J. i

Illustrations, d'apres Matthis Mar is

« Les Cinq Moulins a vent » J. 2

cc La Jeune Mere » J. 4

« Dordrecht » J. 5

cc Vue d'un Port » , J. 7

« Jour d'Orage » J. 8

« Vue d'une Ville » J. 10

« Le Labour » J. 1 1

cc Vue d'une Ville » J. 12

a Scene de Riviere » J. 13

< Au Puits » J. 15

(( Ville hollandaise » J. 16

> J ID Fille C-.KIS int » J. 18

«( Lougre hollandais » J. 19

(( Le Pont )> J. 20

« Jeune Fille sur un Sofa » J. 21

« Le Ferry Boat » J. 22

« Ramasseurs de Coquillages •» J. 23

« La Plume de Paon » J- 25

(( Jour nuageux » J. 26

cc La Bergere » J. 28

« L'Appontement » J. 29

« Pres de Rotterdam » J. 30

« Amsterdam » J. 31

ILLUSTRATIONS, D'APRES MATTHIS MARIS

FAC-SIMILES EN COULEURS

(( Le Bapteme » M. 14

cc Siska » M. 22

PHOTOGRAVURES

cc Les Enfants du Roi » M. 3

« La Bergere » , . , , , M. 6

« L'Enfant Couchee » , , . M, 17

« Baby » M. 27

Illustrations, dapres Wilhelm Mar is

REPRODUCTION LITHOGRAPHIQUE

Dessin communique par 1'artiste M. 11

cc Le Bapteme » M. i

<( Le Chateau » M. 2

Etude de Jeunesse M. 4

(( Les Papillons » M. 5

(( La Fleur » M. 7

« Montmartre » M. 8

Etude ; M. 9

« Le Prince et la Princesse » M. ;o

Etude M. 1 2

« La Nourriture des Poulets » M. 13

« Scene de Marche » M. 15

« Souvenir d' Amsterdam » M. 16

« Le Tisserand » M. 18

Paysage M. 19

(( Fantaisie » M. 20

« Lausanne » . M. 2 1

Etude M. 23

« Les Quatre Moulins » M. 24

cc La Fiancee de 1'Eglise » M. 25

cc Sous 1'Arbre » . M. 26

« Scene de Chaumiere » M. 28

« Le Chateau Enchante" » . . M. 29

« Les Sceurs ». M. 30

« La Dame a la Quenouille » M. 31

ILLUSTRATIONS, D'APRES WILHELM MARIS

FACSIMILES EN COULEURS

« L'Abreuvoir » W. 3

(( U Famille » w- 9

Illustrations, d'apres Wilhelm Mar is

PHOTOGRAVURES

<( Printemps » w- 6

c( A I'Ombre » W. i

cc Un Coin Tranquille » W. 2

cc Le Ruisseau » W. 4

« Canards » w- 5

cc Bestiaux au Paturage » W. 7

« Vaches pr&s d'une Mare D W. 8

cc Le Debarcad6re » W. 10

cc L'Heure de Traire ». W. n

LES FRERES MARIS

(Jacob - Matthis - Wilhelm)

INTRODUCTION

L'histoire de Tart relate de nombreux exemples de
genie transmis de generations en generations. Dans le
domaine de la peinture, ces cas se limitent a la trans-
mission de pere en fils, ceux-ci continuant la profession
paternelle, tels les Ghirlandajo, Domenico pere de
Ridolfo, les Francia, les Canaletti, les Carrache et les
Tiepolo.

On en trouve des exemples dans 1'art moderne, les
uns parmi les artistes vivants, les autres appartenant a
la generation anterieure, comme les freres Landseer,
Sir Edwin, le peintre animalier et son pere Thomas, le
graveur bien connu.

Presque toujours un membre de la famille s'est fait
une reputation superieure a celle de ses parents — chez
les Ghirlandajo et les Tiepolo par exemple — et cela
au point d'eclipser dans sa gloire ses parents moins
renommes.

II en est autrement pour les Maris. Chez eux on trouve
trois artistes distingues, chacun d'eux a suivi sa voie,
et si Ton constate entre eux certaines affinites — leurs
premieres oeuvres surtout sont tres semblables d'idees —
chacun d'eux cependant, par une originalite devenue
bien tranchee avecle temps, conserve son merite propre
et de premier rang.

Quoique nous n'en sachions rien, les freres Maris ont
du avoir des parents exceptionnels, mais leur don spe-
cial ne parait pas avoir ete hereditaire, sauf cette
influence que 1'art hollandais d'autrefois a sur tous les
pere et mere en Hollande. Encore, comme je le mon-
trerai plus loin, la famille Maris n'est-elle pas absolu-
ment hollandaise, car le grand-pere des trois artistes,
soldat des armees de Napoleon, etait ne en Allemagne.

L' allusion a la vieille ecole hollandaise nous fait pen-
ser a 1'influence que 1'art du passe a sur les artistes et
les amateurs d'art du present. Je crains bien que cette
influence ne soit pas aussi forte qu'on le dit generale-
ment et que nous aimerions le croire. Comment affir-
mer la valeur de cette influence, lorsque nous pensons
a certains pays qui ont produit dans le passe les plus
beaux tableaux et que nous voyons leurs productions
d'aujourd'hui. Voyez 1'Espagne. Parmi les oeuvres ac-
tuelles les plus brillantes de colons — beaucoup au-des-
sous, a mon avis des oeuvres de Fortuny et meme de

Madrazo — trouvons-nous des peintures qui rappellent,
si peu que ce soit, 1'influence du plus grand de tous les
peintres, du glorieux Velasquez. ? Voyez 1'Italie. Apres le
regrette Segantini, est-il aujourd'hui un seul peintre que
les traditions de Rome, de Florence ou de Venise aient
touche d'une fa^on magistrale ? Et en France meme, qui
represents 1'influence de 1'ecole de Barbizon en dehors du
vieil Harpignies ? Quant aux eleves de Delacroix ils se
sont perdus en des compositions bizarres que nous
regardons sans interet et sans plaisir.

On ne petit done pas, en somme, considerer 1'art comme
hereditaire. Les oeuvres des anciens n'ont qu'un effet
modifies sur les oeuvres d'aujourd'hui. Les vieux maitres
sont souvent laisses de cote par les artistes contempo-
rains et Ton peut soutenir que, grace a cela, de nouvelles
idees d'art serepandent parmi lesjeuneset que le souffle
vivifiant du genie est ainsi transporte d'un pays a un
autre.

Considerons pour un instant la peinture de paysage
— les freres Man's se sont surtout occupes du paysage.
En descendant par ordre chronologique nous aliens des
vieux hollandais Ruysdael, Hobbema et Van der Veer
a 1'Ecole anglaise de Norwich. Puis nous arrivons a
Bonington, Constable et Turner qui exercerent une
grande influence sur les artistes de Barbizon de 1830.
De France ou le genre s'est fixe, il passe pour la seconde
fois en Hollande et, aujourd'hui, en 1907, les artistes
des Pays-Bas semblent avoir le monopole — et cela de-
puis une generation deja — de la production artistique,
en tant que nation.

II serait ridicule de pretendre que les autres artistes
vivants sont toujours inferieursaceux que nous venons
de nommer, qui sont comme les arbres se dressant dans
la plaine. Et cependant etant donnee 1'absurde categori-
sation d'aujourd'hui, il nous est interdit de reconnaitre
leur elevation avant que leur esprit se soit degage de
leur enveloppe mortelle.

Je discuterai plus loin les merites de 1'ecole hollan-
daise; pour le moment je me borne a enoncer cette
conclusion que les artistes hollandais contemporains
sont, en tant que groupe, superieurs comme production
vraiment artistique aux peintres de toute autre nation.
Parmi les plus distingues nous trouvons les freres
Maris, avec leurs confreres Mauve et Israels. Chacun des
Maris a des merites et des qualites artistiques qu'i!

Les Freres Maris

faut examiner sous un jour different, et pour moije me
borne ici a declarer que sije trouve le frere aine, Jacob
Maris, le plus grand au point de vue technique, cela ne
m'empeche pas d'etre, pour ainsi dire, en adoration de-
vant les qualites d'esprit de Matthis, ni d'apprecier le
charme artistique du plus jeune frere Wilhelm.

L'estime du monde entier pour les peintures et les
dessins des freres Maris s'est accrue graduellement,
sans bonds, ni sauts, mais d'tine facon si continue que
le fait est remarquable et meme phenomenal. De 250
a 1200 francs payes au debut pour une aquarelle, de
750 a 5000 pour une importante peinture a 1'huile, les
oeuvres des trois freres Maris sont montees a des prix
a peine croyables pour qui ne fait pas par tie dela riche
coterie se disputant aujourd'hui leurs productions. Ainsi
I'oeuvre la plus importante de Jacob Maris qui fut peinte,
comme nous le disons plus loin, en 1885, fut achetee a
1'artiste moins de 4000 gulden, soit environ 8000 francs,
elle changea de proprietaire en 1906 et fut payee dix fois
plus : si elle repassait en vente elle atteindrait encore
une somme plus elevee.

J'assistais a la vente de la collection Waggaman,
en 1905, a New- York. Les encheres furent tres nombreu-
ses sur les tableaux hollandais. Israels et Mauve attei-
gnirent le record ; les petits dessins de Jacob et de
Wilhelm Maris monterent a des sommes inesperees. Je
pensais qu'etant donne le grand nombre de tableaux
mis en vente, ces dessins se vendraient au-dessous du
pfix qu'ils avaient en Angleterre, je me trompais et je
fus frappe de 1'empressement que les Americains intel-
ligents mettaient a payer un haut prix pour des oeuvres
de la plus belle qualite.

En Amerique, les choses de 1'art sont traitees, dans
la haute societe, beaucoup plus serieusement qu'en
Angleterre. Le jeune Americain se renseigne sur tons
les artistes connus, il choisit le ou les maitres qu'il
prefere; les dames qui ont plus de loisir s'adonnent
completement a cette etude des artistes et de leurs
oeuvres. C'est surtout a Boston que cela se fait, mais a
New-York, a Philadelphie et a Montreal, dans le Cana-
da, on s'occupe egalement beaucoup de cette saine
etude des Beaux-Arts. Dans une ville relativement pe-
tite comme Pittsburg, ces questions, grace a la direction
d'un ami des arts, M. Beatty, sont tres bien compri-
ses.

A New York, comme a Londres et a Paris, les
affaires de ce genre sont entre les mains de grandes et
anciennes maisons tellesque celle de MM. Knoedler et
C" avec M. Carstairs, specialement amateur des Hollan-
dais. Nommons encore M. James Inglis et MM. Scott
et Fowlesqui ont su attirer en Amerique quelques-unes
ses plus belles toilesde 1'ecole.

Aussi n'est-il pas etonnant que pour nombre de rai-
dons, il y ait eu une importante emigration de pein-
6

tures de Hollandais modernes de 1'autre cote de
1'Atlantique.

En Angleterre il y a actuellement un ou deux grands
collectionneurs de ces oeuvres. Tout recemment encore,
deux amateurs bien connus employaient leurs loisirs et
leur argent a reunir de beaux specimens de tons les
artistes hollandais modernes. Leurs galeries — celle
de M. J. S. Forbes et celle de M. Alexander Young
— ont ete decrites dans le Stitdio. Les autres collec-
tionneurs sont Sir John Day, M. Georges Mac Cul-
loch proprietaire de « The Lock » et d'un delicieux
Matthis Maris, Au Putts, et M. Drucker. Ce dernier qui
habite Mayfair est 1'heureux possesseur de la plus belle
et de la plus complete collection des oeuvres de Jacob
Maris.

M. Drucker, quoique jeune, s'est consacre depuis des
annees, avec 1'aide de sa femme, a faire une collection
qui montrat Jacob Maris sous tous ses aspects et tou-'
jours avec des specimens de premier ordre. II n'a pas
neglige d'autres artistes hollandais, ses tableaux d'ls-
raels sont remarquables, mais Jacob Maris a sur lui une
attraction particuliere, et la collection Drucker est cele-
bre pour le nombre, la dimension et la valeur de ses
toiles. M. Drucker a beaucoup de beaux tableaux a Lon-
dres ; sa salle a manger est entierement ornee de ta-
bleaux d'Israels. II possede de plus une splendide col-
lection de petites toiles qui sont, en ce moment, au
Musee Rijk d' Amsterdam. Toute une salle est occupee
par des morceaux de peintres hollandais qui sont, pour
1'instant, dans une galerie laterale du rez-de-chaussee,
mais le proprietaire ne sera satisfait et ne cedera sa
collection a la Hollande (comme on pretend qu'il en
avait 1'intention) que si elle est mise a 1'etage au-dessus
au meme rang que les anciens maitres. En ces derniei s
temps, M. Drucker a prete quatre tableaux importants
a la National Galery et il est fort probable que si ce
genereux collectionneur trouve qu'ils sont apprecies
comme ils le meritent, ils deviendront plus tard la pro-
priete de la nation anglaise.

M. Drucker est un des rares Hollandais ayant une foi
profonde dans les artistes de son pays. Tentes par 1'aug-
mentation des prix, les possesseur s de ces peintures
dans les Pays-Bus les ont tranquillement mais constam-
ment vendues ; aujourd'hui il devient difficile d'acheter
en Hollande un bon tableau hollandais moderne, comme
aussi d'y trouver un Rembrandt ou une toile de la vieille
ecole hollandaise.

II y a environ vingt ans, les artistes hollandais et ceux
qui les representaient pour la vente s'inquieterent beau-
coup de 1'augmentation des prix que Ton payait pour
leurs tableaux a 1'huile et leurs aquarelles. Ils s'imagi-
naient que les amateurs anglais et americains etaient
atteints d'une folie qui passerait rapidement, et ilscrai-
gnaient que les prixn'atteignissent une elevation telle

Les Frercs Marls

qu'on finirait par se decourager et qu'ils ne trouvcraient
plusd'acheteurs. Crainte absurdeet enfantine, car depuis
vingt ans les prix des tableaux et des dessins ont double
et quadruple sur tous les marches du monde.

Mais cette crainte a depouille le pays de toutes les
ceuvres des freres Maris et d' Anton Mauve. II est fort
difficile actuellement de trouver de bons specimens de
ces artistes dans les ventes d' Amsterdam et de La Haye.
La collection de Sir John Day, le juge bien connu des
affaires Parnell, a ete transferee recemment dans une
maison fort bien arrangee pres deNewbury (Berkshire).
Dans tine salle a manger eclairee d'en haut, les pein-
tures des artistes de Barbizon et des trois freres Maris
sont tres bien exposees, et toute personne serieuse qui
voudra les etudier est assuree d'obtenir 1'autorisation
de les voir. Lady Day apporte a la collection de son
mari un intelligent interet qui en augmente le charme :
grace a son appui, Sir John a permis au Studio de re-
produire ceux des tableaux des Maris qu'il choisirait et
nous avons amplement profite de ce privilege, comme
on le verra par nos illustrations.

La galerie de Sir John Day est en Angleterre la plus
belle de celles qu'on a formees du vivant des peintres,
et comme le gout le plus severe y a preside, on ne trou-
vera pas dans toute la maison un seul tableau mediocre.

Nous reparlerons des peintures en nous occupant des
ceuvres des trois freres : disons seulement ici que la
Fille dormant d manger aux poulets de Matthis Maris
(M 13) et Amsterdam de Jacob Maris (I. 31) sont des
tableaux de tout premier ordre et, en fait, les specimens
les plus interessants de ces deux maitres.

EINTURE HOLLANDAISE MO-
DERNE

L'Ecole actuelle des artistes hollandais s'est revelee
dans les cinquante dernieres annees. Avant la seconde
moitie du XIX" siecle, les peintres des Pays-Bas s'etaient
presque tous cantonnes dans 1'ecole anecdotique et
semi-classique qui, heureusement, a presque entiere-
ment disparu aujourd'hui. Ces artistes etaient d'abord
dessinateurs et ensuite coloristes. Leurs tableaux
etaient peintsavec soin, presque toujours bien destines,
mais les sujets etaient sans interet et la facture du pro-
cede deplorable.

II existe en peinture une theorie, en grande partie
correcte, mais qui ne sera jamais completement etablie
par la discussion, a savoir qu'un artiste ayant a choisir
entre un dessin dit soigne ou academique et une pein-
ture d'un beau colons devra plutot sacrifier son dessin
que diminuer, si peu que cela soit, son talent a produire
une belle oeuvre de ton et de colons.

En somme, un tableau pourra etre dessine molle-
ment, n'etre pas tres bien compose et etre cependant
une belle ceuvre d'art si le ton et la couleur sont bons.
Tandis qu'un tableau de ton et de couleur mediocres
si habilement et si nettement dessine qu'il soit ne re-
tiendra pas longtemps 1'attention.

J'ai eu plusieurs discussions a ce sujet avec Lord
Leighton qui fut le President ideal de 1' Academic,
grace a ses qualites personnelles et a son eloquence. II
ne pouvait pas comprendre ce goflt de plus en plus
marque dans le public pour des tableaux qui n'etaient
pas soigneusement et nettement dessines; avec 1'in-
tuition d'un homme de genie Lord Leighton s'in-
quietait sincerement d'une tendance qui devait
amener la decadence des Beaux-Arts. Et cependant,
dix ans apres sa mort, toutes ces choses qui lui sem-
blaient avoir une valeur en peinture ont ete renversees
de leur piedestal et remplacees par le ton et la
couleur.

Les tableaux de Leighton ont rapidement deem de-
vant 1'estime du public et il est certain que tres peu
de peintures de lui resteront : le Jardin des Hesperides
et Daphncphoria sont ses meilleures productions.

L'Ecole moderne hollandaise a completement suivi
ce mouvement du tonetde la couleur, mouvement qui
n'est que la suite legitime de 1'^cole de Barbizon qui
elle-meme suivait les premieres traditions de Constable;
elle a fait cela avec tant de succes qu'il n'est pas au-
jourd'hui de groupe ojctipant une plus solide position.
Comme ecole nationale, 1'artiste hollandais moderne
regne en maitre.

Les paysages de Hollande, les interieurs de maisons
et les eglises forment les principaux sujets et avec la
parfaite connaissance qu'ils en ont les peintres hollan-
dais ont SLI se faire apprecier dans le monde entier.
Les chefs de cette Ecole, en Hollande, sont Josef Israesl,
Anton Mauve, les trois freres Maris, Bloommers, Bos-
boom, Neuhuys et Mesdag; il en existe une cinquan-
taine d'autres, tous plus ou moins excellents artistes,
mais n'ayant pas la forte individuality de ceux que nous
venons de citer. Pour bien apprecier la position des
freres Maris il est indispensable d'etre renseigne sur
ces maitres qui sont, en fait, les plus grands artistes
contemporains.

Josef Israels est generalement mis en tete de 1'E^cole
hollandaise actuelle, non seulement parce qu'il est le
plus competent de ces maitres, mais aussi parce qu'il
est toujours pret a venir en aide a ses confreres ar-
tistes et a defendre leurs interets. M. Mesdag est le
premier lieutenant de M. Israels en ces affaires et Hen
n'est plus interessant que de constater le zele avec
lequel ces deux artistes - - tous les deux avances
en age — favorisent les expositions des oeuvres de
leurs jeunes confreres soit en Hollande, soit a 1'e-

Les Freres Marls

tranger, toutes les fois que 1'occasion s'en presente.

L'atelier Pulchri est le grand lieu de rendez-vous
des artistes de LaHaye ou habite le plus grand nombre
des peintres hollandais. Amsterdam est lacapitale com-
merciale, mais au point de vue de 1'art et de 1'art mo-
derne surtout,. elle est fort au-dessous de la cite des
Vyver. Les ateliers des peintres que nous avons cites
sont situes a la Haye et c'est de cette ville qu'ils
partent en excursions. II y a sans doute des peintres
de merite a Amsterdam, Harlem, Leyde et Rotterdam,
maisaujourd'hui des qu'un artiste commence a se faire
une reputation il va s'installer a La Haye ou dans les
environs.

C'est pour 1'etranger et pour les Hollandais intelli-
gents eux-memes, je le sais, unplaisir toujours nouveau
d'observer combien 1'artiste hollandais moderne est
vrai — on en a la preuve a chaque pas dans le pays —
quand il note les effets de paysage et de ciel : de la Haye
a Scheveningen surla cote, pendant trois kilometres on
peut retrouver des douzaines de sujets pris par ces
artistes. Vous passez dans un bois et vous reconnaissez
un sujet d'Israels, dans ce jeune paysan et cette fille
qui passent. Un peu plus loin, apres avoir traverse le
bois, vous apercevez un paysage de dunes avec un
troupeau de moutons que Anton Mauve a peint. Pres
de la mer une terre basse avec de gros nuages qui
roulent dans le ciel, en mer un lougre a 1'ancre sur
des flots agites comme Jacob Maris s'est plu a les repro-
duire toute sa vie.

Au bord de la mer vous retrouvez 1'horizon de Sche-
veningen tel que Mesdag 1'a peint sans cesse ; plus loin,
un moulin que Jacob Maris a peint avec toute sa puis-
sance. Dans la ville, voici les canaux, les ecluses, les
maisons aux toits rouges qui ont aide Jacob Maris a
faire sa reputation, voici les pres, les etangs et les jolies
perspectives chers au pinceau plus calme de Wilhelm
Maris.

Les interieurs sont evidemment u.i peu semblables.
Les freres Maris n'ont pas ete tres attires vers eux,
mais Israels et son ami et eleve Blommer, lui-meme
artiste de valeur, les ont peints de toutes facons : dejeu-
ners, diners, repas d'enfants, tous les ages de la mater-
nite et de 1'enfance. Pendant des annees, Israels eut
dans son atelier un interieur de chaumiere qui lui ser-
vait de modele et ses reveries, les Veilleurs fatigues et
autres sujets de ce genre viennent de la : aucun de ces
sujets ne tenta Matthis Maris.

M. E. V. Lucas qui connait bien la Hollande, dit
quelque part qu'en voyant la signature de Jacob Maris
ou de Josef Israels, d'Anton Mauve ou d'un peintre
hollandais quelconque au bas d'une toile, on peut tout
suite de en deviner le sujet. II faut excepter Matthis
Maris comme le reconnait M. Lucas. II serait tout a
fait impossible de predire le sujet d'un tableau de ce

remarquable artiste. Un jour c'est une figure, demain
une tete, un autre jour un paysage avec un moulin ou
encore une ville ou un village. C'est a Matthis Maris
que je me suis surtout attache dans cette publication,
car 1'interet que Ton pi-end a son ceuvre s'accroit cons-
tamment. C'est aussi celui que je connais le mieux et
dont les peinlures et les dessins me plaisent le plus. Et
puis la vie de Matthis est la moins connue, beaucoup
de ses compatriotes connaissent seulement son nom
et ne se doutent pas qu'il est un des plus grands artistes
de leur pays. Mais pour ceux qui ont quelque connais-
sance de ses oeuvres il est certainement en art la per-
sonnalite la plus interessante de notre epoque. Rodin,
dans un genre different, est lui aussi tres attirant ; c'est
un artiste du genie le plus pur. Whistler appartenait
egalement a ce milieu eleve, bien qu'il ait ete peu aime
de ceux qui pendant un moment dirigerent — qui ega-
rerent, dirai-je, — 1'art, il y a vingt ou trente ans.

A cote de Matthis Maris, il faut placer, parmi les artis-
tes d'autrefois, le gracieux Corot, 1'exuberant Turner,
le delicat Claude de France, Vermeer de Delft, Fra
Angelico de Florence, Memling de Bruges et un ou
deux autres primit.fs dont on connait a peine les pre-
noms. Us furent les predecesseurs du peintre aujour-
d'hui fixe a Londres et dont le genie, tel que nous le
revelent ses lettres, brille assez pour faire oublier la ra-
rete actuelle de ses productions. Ses meilleursamisse-
raient heureux de le voir revenir a ce chevalet qui a
servi de support aux peintures et aux dessins reconnus
comme les chefs-d'oeuvre d'un genie singulier et plein
de vie.

A FAMILLE MARIS.

L'histoire de la famille Maris est curieuse a divers
titres, sans etre cependant tres longue a raconter. II sem-
ble prouve, et ceci est d'un grand interet, que le grand-
pere des trois artistes fut un soldat, originaire de la
Boheme, qui arri va a Prague pendant les guerres de Napo-
leon Ier. II se nommait, parait-il, Maresch, mais pendant
ses promenades a travers la moitie de 1'Europe, son
passeport s'usa tellement qu'il finit par oublier 1'ortho-
graphe de sonpropre nom. Quand il vint enfin se fixer a La
Haye, il se fit appeler Marris ou Maris. II epousa une
Hollandaise et fonda une famille.

Son fils fut imprimeur a La Haye; on le connut sous
le nom de Maris, qui doit se prononcer avec un a long
et en faisant sonner \'s de la fin.

L'imprimeur eut une existence difficile. II dut tra-
vailler beaucoup pour arriver a clever sa famille qui se
composait de trois fils ; Jacob, Matthis et Wilhelm et

Les Freres Marts

deux filles qui, mariees et meres de famille, moururent
au cours d'une epidemic.

Les trois freres naquirent a La Haye: Jacob en 1837,
Matthis en 1839 et Wilhelm en 1843. Les deux plus
jeunes vivent encore, Matthis habite Londres et Wil-
helm, Amsterdam. Jacob est mort a La Haye en 1899.

Le pere des artistes mena une vie de penible travail :
on raconte qu'il pa?sa trois jours et trois nuits a composer
une Bible qu'il fallait imprimer rapidement pour I'expe^
dier a Java, aussi se promit-il de donner a ses enfants
une meilleure profession que la sienne.

Ses enfants etaient encore tout jeunes, quand il leur
mit entre les mains un crayon et du papier en leur disant
de dessiner. A douze ans, Jacob etait deja eleve de
1'Ecole d'Art de La Haye et, trois ans plus tard, il etait
1'eleve d'un artiste assez connu M. Van Hove qui 1'em-
mena a Anvers avec lui, en 1853. Matthis refut une
education semblable acelle de son frere et il se souvient
du jour ou son pere lui donna des crayons et du papier.
Mais le second frere n'eut jamais les memes idees que
son aine et il fut parfois difficile de le faire rester devant
son modele. II alia ensuite rejoindre son frere a Anvers
ou il sejourna longtemps et, bien qu'il n'eut pas le meme
ideal, il resta a sa charge.

Voila en quelques mots le resume des longues con-
versations que j'eus a Londres avec M. Maris. Comme
je lui communiquais ces lignes, il me dit que peut-etre
les renseignements qu'il me donnait etaient aussi
fantaisistes que reels. Son grand-pere avait-il ete
soldat, il n'en etait pas certain, mais cela etait tres pro-
bable. Et Matthis Maris ajouta cette anecdote qu'il me
donna comme nullement fantaisiste. Iitant enfant, il de-
roba a son grand-pere quelques pieces d'or pour s'acheter
des bonbons. Le vol fut decouvert et 1'enfant severement
puni. Le grand-pere mourut dans une asile de vieil-
lards a La Haye.

Le pere des Maris fut lui aussi soldat, comme tous
les Hollandais, et il servit lors de la guerre de separa-
tion de la Belgique. Un jour, raconte M. Matthys
Maris, son pere prit part a un engagement ; les soldats
tiraient au milieu du brouillard contre un ennemi
qu'ils ne pouvaient pas voir. De temps a autre un ca-
marade etait frappe et tombait : « Quel crime ces hom-
mesont-ils done commis pour etre ainsi frappes ? » se
disait-il et dans son indignation il ne pouvait s'empe-
cher de s'ecrier : « II faudrait pendre les assassins qui
sont au pouvoir ! »

En 1860, Jacob et Matthis voyagerent en Allemagne
et en Suisse. Nous n'avons jamais vu d'etudes qui da-
tent de cette epoque. M. Wisseling, qui fut 1'ami fidele
de Matthis, possede de lui une nature morte qui fut
peinte en 1852 et dont tout 1'interet est dans la date.
Les premieres etudes, qui sont auMusee Mesdag de La
Haye, ont le meme interet.

Jacob et Matthis vecurent ensemble, bien que leur
carriere artistique fut toute differente. Quand la
guerre franco-allemande eclata, les deux freres habi-
taient Paris depuis plusieurs annees. Jacob avail ete
peu de temps 1'eleve d'Hebert, eleve lui-meme de
David et de Delaroche et prix de Rome de 1839, mais
le peintre de cette Malaria qui resta si longtemps au
Luxembourg n'eut pas d'influence sur son eleve.
En 1870, le second pere fut enrole dans la garde natio-
nale de Paris et appele a faire son service. II en fut
heureux et, pour une raison que 1'on comprendra faci-
lement. Pendant le siege, personne n'achetait de ta-
bleaux et notre artiste se trouva satisfait d'etre habille
et nourri et de toucher la solde de trente sous par jour
allouee aux gardes nationaux. Matthis se trouvait
de garde aux fortifications en face d'Asnieres et sous le
Mont Valerien. Les nuits etaient terriblement froides
et les sentinelles, pendant la rigueur de 1'atmosphere,
pouvaient porter des peaux de mouton qui les envelop-
paient completement. Une nuit, raconte Matthis, il
allait et venait en faction quand il entendit du bruit.
* Halte la ! Qui vive! » cria-t-il et un petit peloton de
cavaliers francais s'avanca a son appel. Un officier
arriva ensuite, lui reprocha de n'avoir pas crie plus fort,
et Matthis fut heureux de s'en tirer avec une repri-
mande, car il crut, pendant un moment, qu'il avait
affaire a 1'ennemi. Une autre fois il entendit des coups
de feu dans le lointain et il donna 1'alarme, mais
il ne se trouva jamais en presence des Allemands et
n'en vit pas tomber un seul.

Par une nuit tres froide, alors probablement que les
peaux de mouton n'etaient pas encore distributes, il se
procura une robe de moine avec un capuchon pour se
garantir du froid. II avait mis son fusil sous son bras et
abritait ses mains sous les larges manches. II avait
trouve un gros morceau de bois assez large pour qu'il
put se tenir dessus et ne pas avoir les pieds dans 1'eau.
II se trouvait assez confortable quand il entendit du
bruit tres pres de lui, mais assez loin de 1'endroit ou il
devait faire sa faction : a son : « Qui vive? » une voix re-
pondit :Artillerie! Tant mieux se dit-il, car le froid
avait tellement engourdi ses mains qu'il lui cut ete im-
possible de se servir de son fusil. Et puis, ajoutait
1'artiste en nous faisant ce recit, je n'ai jamais mis une
balle dans mon fusil, je me bornais a faire semblant.
Ce dut etre une vie assez bizarre pour 1'aimable artiste
qui etait petit et n'avait pas les poumons trop solides.
II existe une esquisse a la plume representanl
Matthis Maris en tenue avec le sac, la capote et le
fusil. Sa taille etant de plusieurs centimetres inferieure
acelle du grand Napoleon, son aspect avec la peau de
mouton dans la neige devait etre d'un comique irresis-
tible. L'artiste se plait a parler de ce temps, mais il
est tres reserve sur son refus decombattre la Commune.

Les Frcres Maris

Com me il le dit, il voulait bien combattre les Alle-
mands, ses ennemis naturels, mais il se refusaitde tirer
«ur un Francais egare.

Jacob, enferme dans Paris avec sa femme et ses
enfants, eut beaucoup a souffrir. C'est apres cette
•epoque que 1'artiste commence a peindre dans sa ma-
niere caracteristique. Les tableaux de 1870 et ceux qui
suivirent, quoique petits, montrent chez Jacob une ap-
preciation de tons ou se revele la pensee de 1'artiste. II
ne recherchait pas la couleur comme dans sesdernieres
annees, mais dans la composition generale et dans les
tons du ciel et du paysage on trouve les premieres indi-
cations du succes du peintre qui fit le Moulin, le Pont,
•et une douzaine d'autres chefs-d'oeuvre.

Jacob Maris et sa famille revint a La Haye en 1871,
heureux sans doute de retrouver une terre de paix et
de prosperite apres avoir etc aflame dans une ville as-
siegee. Mais il fallut vingt ans a ses compatriotes pour
le croire un grand peintre. Le vieux dicton : * Nul n'est
prophete en son pays », ne fut jamaisplus vraique pour
lui et ce fut aux Hollandais habitant 1'etranger et aux
F^cossais qu'il dut la premiere appreciation de son
talent.

En 1871, il y avait dans la maison Goupil un certain
M. Van Wisselingh qui etait parti en Hollande pour
apprendre le metier d'acheteur de tableaux. Je n'ai
connu la maison Goupil de Paris que dix annees plus
tard, mais 1'organisation interieure a ete la meme jus-
qu'en 1890. La maison Goupil etait etablie boulevard
Montmartre et Matthis Maris y venait souvent. Mais
le magasin principal setrouvait rue Chaptal, au nord de
la ville, et c'est la que s'editaient les grandes publica-
tions, gravures de Gerome et de son ecole, de Dela-
roche et d'autres du regne de Napoleon III. La vogue
de ces peintres d'anecdotes est passee heureusement
•et le renom de la maison s'est maintenu grace aux
ceuvres un peu meprisees que Ton exposait dans la
petite boutique du boulevard Montmartre. Au boule-
vard, comme on appelait la boutique qui etait pres du
cafe Richelieu, on vendait les tableaux de Corot, de
Millet, et de 1'^cole de Barbizon, et ceux d'Israels, des
Maris et de Mauve qui provenaient de la succursale
fondee recemment a La Haye. Les directeurs de 1'eta-
blissement de la rue Chaptal, meme de mon temps,
parlaient avec un certain mepris de ces artistes patronnes
par le boulevard et le chef de la maison qualifiait ces
tableaux de « saletes ».

Mais le temps s'est charge de venger ces artistes et
la boutique du Boulevard dont on raillait les precedes
commerciaux fut le rat qui sauva le lion de la rue
Chaptal et a partir de 1885 les Gerome et les anec-
dotiers furent peu a peu detrones par les Corot, les
Rousseau les Maris et les Mauve.

Mais vingt ans sont longs a attendre et les Montmar-
10

troisdurent passer de tristes moments a attendre a leur
tour la faveur du public.

C'est dans ces conditions que Matthis Maris com-
menca ses relations commerciales avec M. Van Wisse-
lingh, relations que le moment n'est pas encore de faire
connaitre mais qui, lorsqu'on les racontera, seront tout
a 1'honneur du marchand de tableaux.

Jacob Maris fut toujours tres estime au Boulevard et
malgre son sejour a La Haye peu apres la guerre, il
continua ses relations avec les Goupil jusqu'a sa mort,
elles furent beaucoup encouragees par le directeur de la
succursale de La Haye, M. Tersteeg.

Depuis ce moment 1'histoire de Jacob Maris est celle
de 1'artiste heureux qui a trouve son metier et qui a un
marche. Sous 1'habile direction deM. Tersteeg, Jacob Ma-
ris n'eut pas a s'inquieter de 1'educationde sanombreuse
famille. M. Tersteeg interessa le fameux collectionneur
moitie Hollandais, moitie Ecossais, James Staats Forbes,
aux tableaux de Maris et nombre de ses meilleures
toiles furent tout d'abord achetees par M. Forbes.

Je me souviens tres bien du grand tableau de Jacob
Maris peut-etre la plus belle ceuvre de 1'artiste, Le Pont
(p. J. 20) aujourd'hui dans la collection de M. Friek de
New-York et du cas qu'en faisait M. Forbes. C'etait en
en 1885, la peinture etait a peine seche.

M. Alexander Young, lui aussi appreciait beaucoup
Jacob et il ne perdit jamais une occasion d'acquerir les
nombreux chefs-d'oeuvre qui sortaient de 1'atelier de
1'artiste. Sir John Day, Charles Roberts de Leeds, plu-
sieurs collectionneurs en Ecosse M. Thorburn de Pee-
bles, M. Andrew Maxwell et M. John Ure d'Helensburg,
d,autres encore furent des admirateurs du peintre et
des acquereurs de ses ceuvres. C'est en 1899 que Jacob
Maris mourut a La Haye, il y fut enterre, un monu-
ment fort simple eleve par ses nombreux amis abrite
ses restes.

Tandis que Jacob faisait son chemin sans trop d'obs-
tacles, son frere Matthis allait solitaire. Sauf Sir John Day
et M. Andrew Maxwell, aucun des grands collection-
neurs de peintres hollandais modernes ne songea a enri-
chir ses tresors des ceuvres de Matthis Maris. M. Ale-
xander Young n'en possedait aucune et M. Forbes ne fit
rien pour acquerir une toile vraiment importante. Ici
et dans une autre circonstance, la vision de M. Forbes
sembla etre curieusement limitee car ni Whistler ni
Matthis Maris ne furent goutes de lui. Sa collection a
differentes epoques contenait des ceuvres des deux ar-
tistes, mais jamais pendant longtemps.

Aussi Matthis Maris fut- il longtemps livreases propres
ressources. Peu de temps apres la guerre de 1870, 1'ar-
tiste decorateur Daniel Cottier cherchait undessinateur
pour ses merveilleux vitraux. II admirait beaucoup
Matthis Maris et 1'engagea a venir a Londres et a tra-
vailler pour lui. Ainsi commenca une amide qui dura

Les Freres Mar is

nombre d'annees. Au bout de quelque temps Matthis
vint habiter Sl John's Wood Terrace et c'est la qu'en
1890 je connus 1'artiste pour la premiere fois. II sem-
blait assez pauvre, en tout cas ne vivait pas luxueuse-
ment, mais la maison etait au gre du peintre, car il eut
pu en changer s'il 1'avait voulu.

Depuis 1907, Matthis Maris est installe dansune tres
confortable maison pres de Saint-John's Wood et c'est
de cette demeure que vient la lettre ci-apres.

Je lui avals ecrit a son ancienne adresse pour lui dire
que j'avais 1'intention de publier une notice sur lui et
sur ses freres et lui demander 1'autorisation de repro-
duire quelques-unes de ses oeuvres. Cette lettre don-
nera une idee de la facon dont il m'accueillit apres le
long intervalle qui s'ecoula entre 1892, date de ma
derniere visite, et cette annee :

« — J'ai ete heureux de votre lettre qui m'a etc ren-
voyee de mon ancien domicile que j'ai du quitter : ma
vieille logeuse ayant trop de rhumatismes pour monter
et descendre les escaliers, a vendu son fonds et je
ne savais ou aller quand Mme Wisselingh et M™6 Lessore
m'ont trouve celui-ci. La chambre m'a plu des le pre-
mier coup d'oeil et m'y voici installe comme un petit
maitre... Vous savez que vous touchezun point doulou-
reux en me parlant peinture et en mettant mes
« suicides » sous les yeux du public, c'est le vrai nom a
donner aux« pots »; il faut pour avoir le droit devivre
abandonner tout ideal et employer son habileteaplaire
a ceux qui ont des sous et des Hards en poche

«Je me souviens deSwanallant trouver un marchand
de tableaux avec une toile sous le bras : « Oui, dit le
« marchand, ca peut etre tres bien et tres joli, maisjene
« peuxpas le vendre. » — Que faut-il faire? — Eh bien
« faites un petit tableau de genre, tenez, par exemple, un
« vieux bonhomme allumant sa pipe dans son chapeau. »

«J'atdu faire cela aussi,moi,car aquoi bon essaver de
faire ce qu'on n'est jamais sur de vendre. Je viens de
recevoir une lettre danslaquelleon me dit : « Avec des
« pots on peut gagner de 1'argent », car 1'argent
c'est toujours le principal. J'ai repondu que c'etait la
une grave erreur. Quand on a garde un peu d'honne-
tete, qu'est-ce qu'on peut demander pour ca?

« Apres 71 j'avais quelques dettesa payer, que faire?
Je dis a Wisselingh qui etait chez Goupil : Dites-leur
que je les reprendrai plus tard. Je n'ai jamais pu le
faire, car un nomme Van Gogh, son associe, me donna
200 francs, un autre individu 1'acheta 350 francs et le
revendit en Amerique 17.500. II demanda a Wisselingh
combien de temps j'avais mis a le faire, 1'autre repondit
une semaine et je passai pour un fanieux gaillard qui
devait se faire une fortune ; pensez-donc : 2500 francs
par jour, voyez ce que cela fait au bout d'un an. Aussi
j'ai commis suicides sur suicides, qu'est-ce que ?a pou-
vait bien lui faire a lui et aux autres ! On m'a dit un jour :

« Vous devez bien avoir quelque sottise a dire, tenez
« voila de 1'argent, allez votre chemin >, mais c'est pre-
cisement ce qu'il ne faut pas faire.

« II y a toujours quelqu'un pour vous dire ce qu'il faut
faire et puis il y a les ecoles qui vous disent que vous
n'avez pas le droit d'etre vous-m£me, qu'on doit etre
Romain ou Grec ou encore imiter ce qui s'est deja
fait. Ma premiere lecon de peinture a ete : Qu'est-ce
que ?a peut vous faire de leur vendre des navets pour
des citrons? L'argent voila 1'important. Et pendant
toute ma vie j'ai entendu le meme refrain : Quel imbe-
cile vous fartes ! vous pouvez gagner autant d'argent
que vous voudrez. L'argent avant tout. Comme dit
Carlyle : « Si vous voulez faire une fortune rapide,
obtenir les applaudissements temporaires des snobs en
renoncant a 1'estime definitive des sages, si vous pouvez
vous persuader que la fin de I'homme consiste a amasser
un tas d'or plus gros que tous les precedents et en
moins de temps qu'on ne 1'a fait, vous trouverez que le
monde est vraiment commode, avantageux, beni et
heureux. » Mais dans le cas contraire je ne crois pas
qu'il soit si avantageux que cela et si vous demandez :
Comment peut-on y mener une vie noble? Vous serez
plus heureux que moi si vous obtenez une reponse
serieuse et si vous decouvrez une voie tracee. Helas
si vous faites cette question, que de choses, que de
gens vous repondront par un : « Quelle sottise !»
La vie noble est dans Drury Lane, elle porte des bottes
jaunes, quant a vous, mon ami, contentez-vous de votre
pudding.

« Je serai toujours heureux de vous voir quand vous
viendrez par ici.

« Sincerement a vous.

M. MARIS. »

Le ton enjoue de cette lettre provient sans nul doute
desbontesque lui temoignaient ses excellents amisM. et
Mme Wisselingh, qui auraient renduun grand service a
1'art s'ils avaient pu lui persuader de rendre en peinture
ses exquises idees.

Une once de savoir personnel valant plus qu'une
tonne d'experience de seconde main, je crois devoir ra-
conter un petit fait qui arriva a M. Maris et a moi en
1890, il y a dix-sept ans.

Je venais de publier un ouvrage in-4° sur 1'^cole de
Barbizon, qui avail occupe mes loisirs depuis trois ans
et demi. J'etais alors un visiteur assidu de 1'atelier de
M. Swan, que je m'honore d'avoir apprecie des le pre-
mier jour. Je lui avais souvent parle de mon livre et
lorsqu'il parut je fus heureux de recevoir de lui un su-
perbe dessin representant un Lion, en echange de 1'en-
voi d'un exemplaire.

Le volume resta quelque temps dans 1'atelier de
M. Swan. Matthis Maris qui y etait toujours bien accueilli,

Les Freres Marts

le vit et s'amusa a le parcourir. Je ne lui avals parle
qu'une fois, mais je connaissais son grand talent et je
fus tres fier de 1'appreciation qu'il en fit a M. Swan.
J'avais ecrit ce livre au point de vue artistique et non
au point de vue litteraire. Je n'avais pas hesite a sa-
crifier un joli tour de phrase a la verite de la pensee
les lecteurs des critiques d'art d'aujourd'hui me com-
prendront, aussi 1'approbation d'un esprit comme celui
de M. Maris me flattait beaucoup, surtout apres les
commentaires assez desobligeanls que venait de pu-
blier sur mon compte uncertain litterateur qui trouvait
que j'avais trop braconne sur ses terres.

Apres avoir consulte M. Swan, qui connaissait
M. Maris beaucoup mieux que moi, j'envoyai a ce der-
nier un exemplaire avec une courte dedicace, le priant
d'accepter cet hommage. Un mois se passa sans que j'en-
tendis parle r de mon envoi, lorsque, le 9 septembre 1890,
je repus une lettre et un cadeau.

M. Maris avait pris la peine de peindre une tete, il me
1'envoyait (elle est reproduite ici, sous le litre de
Siska), c'etait une toile mesurant 40 sur 30, c'est un
de ses derniers ouvrages les plus caraclerisliques. La
lettre qui accompagnait ce don est un de mes Iresors,
car 1'artiste me dit :

« J'aime ce livre parcequ'il est ecrit genereusemenl
et qu'il fera quelque bien », et il conclut :

« Et maintenant je ne veux pas vous payer, j'aurais
1'air de vous insulter, mais j'ai fait une petite esquisse a
votre intention, mais non comme paiement : c'est peu
de chose. Jel'avais commencee le soir, comptant la con-
tinuer le lendemain mais cela avait deja seche. Acceplez-
la done telle qu'elle est, comme une marque de mu-
tuelle sympathie.

« Avec mes compliments.

« Votre
M. MARIS. »

Un mois plus tard je recevais une seconde lettre de
M. Maris en reponse a mon accuse de reception du
tableau cette le'tre est fort interessante par la mention
que Maris fait de Whistler.

« Comme je recevais votre lettre, M. Angus m'envoyait
le Scotsman, vous me dites que certains critiques ont
cru devoir en faire la base d'une attaque personnelle,
c'est bien la la critique. Critique signifie couteau,
signifie dissection, signifie sagesse, signifie perfection.
L'art est stupide, simple, c'est une tache bien difficile
pour le critique que comprendre-

« J'aime votre livre parcequ'il est «tel quel» comme
un Japonais, vous n'irez pas critiquer un dessin japonais
et dire qu'il n'a ni forme, ni dessin, ni perspective, ni
anatomic. C'est aux critiques qu'il appartient de montrer

leur savoir en tuant ces choses, ces imbeciles-la font du
mal, comme le dit Whistler — avec leur savoir. Thacke-
ray les appelait des boueurs — mais encore les boueurs
sont-ils necessaires, tandis que ces gens-la ne servent
a rien.

« M. MARIS. »

Ces simples communications ecrites avec toute la
naivete de la jeunesse revelent quelque chose de la na-
ture enfantine de 1'artiste. Elles sont ecrites dans un
anglais assez courant et nous rappellent que Matthis est
le seul des trois freres qui puisse ecrire 1'anglais aussi
bien.

Matthis Maris avait etc, au debut de sa carriere, re-
commande a la feue reine de Hollande par son Secre-
taire et il avait obtenu d'elle une pension pour pouvoir
etudier a Anvers. II travailla chez Nicaise de Keyser,
partageant le logement avec son frere Jacob et Alma-
Tadema, on a dit que Matthis Maris fut tres influence
par Rethel et Kaulbach, mais je n'ai pas pu trouver
grande trace de cette influence dans toutes les ceuvres
que j'ai vues.

Les rapports de Sir Lawrence Alma-Tadema avec les
deux freres Maris durerent pres d'un an : c'etait en 1855
alors que 1'academicien actuel etait eleve de 1'Academie
d'Anvers.

Les deux freres qui vivaient ensemble sur la pension
royale firent un amical arrangement avec Alma-Ta-
dema deja installe dans un logement trop grand pour
lui. Us prenaient ensemble leurs repas. II faut noter ici
cet arrangement entre ces trois jeunes et habiles ar-
tistes qui vivaient si frugalement sous le meme toit.
Leur exemple peut raviver 1'ardeur de tous les etu-
diants. Ces artistes out tous les trois acquis une cele-
brite qui durera sans doute aussi longtemps qu'on lira
les annales de 1'art.

Nous racontons ici la carriere de Jacob etde Matthis;
leur camarade de jeunesse estdevenu membre detoutes
les Academies importantesd'Europe, etce qui le louche
encore davantage, il fait parti e de 1'elite qui compose
1'Ordre du Merite.

L'histoire de Wilhelm Maris, le plus jeune des trois
freres, est plus remarquable par sa tranquillite, depuis
les debuts jusqu'a ce jour, que par les evenements qui
onl Iraverse la vie des deux aines.

Wilhelm naquil six ans apres Jacob el qualre ans
apres Matthis .• il apprit de tres bonne heure les elements
du dessin et de la peinlure, il appril aussi a reconnailre
les qualiles artistiques des scenes qui 1'enlouraient.

II n'avail pas douze ans quand ses deux freres Ten-

Les Freres Marls

gagerent a employer ses loisirs a faire des croquis. Des
le matin avant 1'ecole, il allait dessiner les bestiaux dans
les pres car, a ce moment deja, il indiquait le gout qui
devait dominer toute sa vie d'artiste. L'homme qui est
aujourd'hui connu pour la delicate douceur des tons et
des couleurs qu'il a mis dans ces paysages, peignait
d'instinct ce qui lui plaisait le plus et, en art comme en
toute autre chose dans la vie, ce que Ton fait avec le
plus de plaisir est generalement aussi ce qu'on reussit
le mieux.

Apres 1'ecole, le gamin de douze ans revenait a ses
croquis ; il ne depassa guere lataille de Matthis, tout en
etant plus robuste et d'apparence plus vigoureuse que
ce dernier.

A 21 ans il exposait son premier tableau a La Haye.
C'etait en 1864. Deux ans plus tard il fit un voyage hors
de Hollande stir les bords du Rhin — voyage etonnant
a travers les montagnes qui lui murmuraient des chants
et des contes le long d'un grand fleuve enchante — con-
traste frappant avec les eaux de la Hollande et les patu-
rages plats de la terre natale.

En 1876, il fit un autre voyage dans les fjords et les
montagnes de Norvege, mais ils n'eurent pas de charme
artistique pour lui, car il n'en a jamais donne de pein-
tures.

Au point de vue artistique Wilhelm n'a jamais atteint
la reputation de ses aines et cela pour plusieurs raisons.
Tout d'abord, etant le plus jeune des trois, il s'est
presente le dernier devant le monde des arts et il a eu
moins de temps pour atteindre la hauteur ou ses freres
sont arrives. Les artistes savent ce que cela compte
pour une reputation ; les peintres, dont la grande qualite
est la subtilite des tons, ne sont jamais compris que
nombre d'annees apres la production de leurs meilleures
oeuvres. C'est ce qui arriva pour Jacob et pour Matthis,
rien d'etonnant done a ce qu'il en soit ainsi pour le plus
ieune.

Autre raison de la reputation moindre de Wilhelm :
son but est moins eleve que celui de ses freres, et s'il
vise moins haut, il est certain que ses oeuvres les meil-
leures portent moins loin. Le caractere general de ses
tableaux a 1'huile ou a 1'aquarelle a moins de virilite que
les oeuvres de ses freres. II se plait aux varietes plus
menues des paturages, arbres, herbes, buissons, sans
s'attaquer aux tons plus puissants des chevaux halant
un bateau sur un canal ou labourant un champ, ou des
masses d'un grand moulin se dressant solide et puissant
sur un ciel nuageux.

Et puis, il est le troisieme du nom dans la meme ge-
neration, autre obstacle a son succes dans les grands
chemins de 1'art. D'une autre famille, peut-etre eut-il
obtenu, comme Anton Mauve, une plus facile reputation.
Cela ne veut pas dire que Wilhelm Maris soit un ar-
tiste inferieur a ses freres. Nombre de personnes, en

Hollande surtout, quelques-unes en Angleterre et en
Amerique, lui reconnaissent au point de vue essentiel
un merite egal a celui de Jacob et de Matthis. Sans
aller jusque-la, je reconnais pleinement 1'exquise qualite
de son talent, les tons gris-vert etonnants qu'il aime et
la maitrise generale de ses creations.

Avant de quitter M. Wilhelm Maris je voudrais dire
tout ce qu'il y a de charme personnel dans cet artiste.
C'est un plaisir de le voir, comme j'en eus 1'occasion en
septembre 1906, au milieu de ses enfants et de ses amis
qu'il aime et dont il est aime ; c'est un homme des plus
courtois, qui a conscience de sa valeur, mais qui est trop
fin et trop modeste pour se faire valoir mal a propos.

Je termine en donnant (XXII B M.) un fac-simile
de la fin d'une lettre qu'il m'ecrivait en mars 1907. Elle
est ecrite en hollandais, la seule langue qu'il connaisse
bien. L'artiste souhaite que la reponse qu'il vient de
faire a mes demandes me satisfasse.

ETHODE DES PEINTURES A
L'HUILE ET DES AQUA-
RELLES.

Les oeuvres de Jacob Maris, tableaux a 1'huile et aqua-
relles, ont une allure virile tres differente de celle de ses
freres et de ses contemporains et leur facture est tres
superieure.

Ses tableaux a 1'huile ont un colons etun ton qui est,
en fait, unique dans la peinture de paysages. II y intro-
duit habituellement des personnages, souvent un homme
dans un bateau ou a cheval ; il s'est essaye parfois dans
la figure seule, mais rarement avec un plein succes.

II est difficile de decider si Jacob Marisaquelque affi-
nite avec les autres peintres, Delacroix avait tout au
moins un peu de sa facon de penser, et Constable, quand
il employait le couteau, a obtenu, d'une autre facon, le
meme resultat. Turner, dans ses esquisses a 1'huile, a
produit parfois un tableau de meme style et peut-etre
que les tresors caches de la National Gallery en contien-
nent d'autres du meme genre.

L'Ecole francaise du plein air avec sa technique de
petits coups n'a jamais atteint la qualite de tons d'un
Jacob Maris, et les grands artistes de 1'ecole ecossaise
W. Mac Taggart et Sam Bough tiennent trop peu de
compte d'un ensemble complet pour rivaliser avec lui :
il fatit reconnaitre cependant que le premier de ces
deux peintres arrive parfois a une force de colons pres-
que semblable.

Si Velasquez avait etudie le paysage avec le meme
soin qu'il a etudie le portrait et la figure, il eiit peint
probablement dans la maniere de Jacob Maris, c'est du
moins ce qu'on peut induire des quelques essais qu'il a
laisses. II est certain aussi que le peintre du Jeune

Les Freres Man's

hoinme a la toque et de cent autres chefs-d'oeuvre,
Franz Hals, cut ete un rival de Maris si, de son temps,
on se flit plus interesse au pay&age. Ou'on ne s'ima-
gine pas que nous placons trophaut 1'artiste dont nous
nous occupons, le secret de 1'estime croissante que le
monde des arts temoigne a Jacob Maris vient de ce que
ses qualites sont de tout premier ordre : il est vrai-
ment digne d'etre place au rang des maitres que nous
venons de citer.

Mais le peintre dont Jacob Maris se rapproche le plus
est Rembrandt. Ici le moderne doit s'incliner tres bas
devant le grand Hollandais son ancetre de deux siecles.
Personne n'aura jamais la pretention d'obtenir les tons
magniflques et les riches qualites du plus grand de tons
les peintres : Jacob Maris lui-meme parait froid a cote
du glorieux Rembrandt. Et cependant, qui sait ce que
seront les tons d'un Maris quand la patine de deux
siecles aura passe sur la toile?

Deja de notre temps le ton et le coloris des tableaux
a 1'huile de Jacob Maris se sont modifies d'une facon ex-
traordinaire. Je me souviens tres bien de 1'etonnante
fraicheur du tableau que nous reproduisons ici (J. 20)
Le Pont. C'est en 1885 que cette grande composition
fut achevee (1'artiste avait fait au prealable un grand
nombre d'esquisses, d'etudes et de petits essais) quand
le tableau entra, frais comme la rosee du matin, dans la
collection de M. Forbes, j'eus le loisir de le voir et de
discuter la valeur de 1'ceuvre avec son proprietaire.

Le ciel et le premier plan palpitaient de couleur frai-
che. C'etait presque cru, tres grossier, et en pleine pate.
En particulier, la peinture bleue des pots de la laitiere,
me frappat a ce point — ils semblaient avoir un demi-
centimetre d'epaisseur de couleur pure -- que je
m'etonnais du gout de M. Forbes choisissant un tableau
de couleurs si vives. Le collectionneur savait que j'avais
mes doutes, il savait aussi qu'avant ce moment je n'avais
pas vu beaucoup d'oauvres de Jacob Maris et qu'en tout
cas je ne les avais pas etudiees comme lui. L'artiste me
dit, et 1'experience a prouve la verite et la sagesse de
cette affirmation, qu'il peignit ce tableau en pensant
qu'il faudrait dix ou douze ans avant qu'on put 1'etudier
serieusement. Or pour un tableau appele a durer au moins
plusieurs siecles, une douzaine d'annees n'ont pas grande
consequence dans son histoire. Si un peintre est a meme
d'apprecier 1'effet de cette psriode de maturation et s'il
peint de telle facon que son ceuvre atteigne toute sa
valeur en ce laps de temps, il est certain qu'elle aura
un grand avenir devant elle. Les oeuvres de Jacob Maris
ont pour briller tout le reste des siecles, quand elles au-
ront atteint — comme aujourd'hui c'est le cas — la
qualite de ton d'un grand mattre.

Seules les dernieres ceuvres de Jacob Maris ont ete
soumises a ce remarquable precede de maturation et il
est possible qu'il n'ait connu qu'a la longue le moyen

d'en arriver la. Ses premieres reuvres sont remarquables
par leur ton fondu, mais on sent qu'elles ont exige beau-
coup plus de travail, elles sont plus « fignolees » et bien
moins enlevees que ses peintures posterieures a 1878.
Dans 1'aquarelle, ce que nous venons de dire ne s'ap-
plique pas. De temps a autre, Jacob Maris a fait des
aquarelles d'un vert intense et presque cru. Elles n'ont
pas beaucoup change bien qu'avec le temps elles se
soient, elles aussi, unpeu modifiees. Beaucoup de sujets
ont ete 'peints a la fois a 1'huile et a 1'aquarelle et, on
remarque facilement leur difference de vigueur. Mais la
plupart des aquarelles de Jacob Maris ont etefaites avec
la notion tres nette des limites dans lesquelles se meut
1'aquarelle, et 1'harmonie de tons est cherchee et obte-
nue, suivant moi, du premier coup.

Dans certains cas, Jacob Maris a employe 1'aquarelle
comme s'il s'agissait d'huile et, par une combinaison de
couleurs solides, sorte de detrempe, il a reussi, mais
certaines grandes lumieres se sont beaucoup alterees et
dans un tableau qui fait partie du musee de Glasgow, les
blancs sont devenus presque noirs. Les aquarelles de
Jacob Maris ont toujours ete recherchees. Les collec-
tionneurs les ont en honneur, et lesexemples que nous
donnons ici justifient cette appreciation.

Les methodes de Wilhelm Maris sont plus tradition-
nelles, mais ses peintures possedent des tons exquis et
des qualites qui les font particulierement estimer du
collectionneur de nos jours. Jusqu'aces dernieres annees
Wilhelm Maris a peint d'apres ce qu'on pourrait appe-
ler les methodes ordinaires de 1'licole Hollandaise, mais
depuis dix ans ses methodes ont developpe chez lui une
fermete, une tenue qui le placent chaquejour plus haut
dans 1'estime du monde des artistes.

A ses debuts, il fut encourage et aide, et parfois aussi
gronde par Jacob qui n'epargna jamais non plus son
jeune frere Matthis, si les mots avaient pu avoir quel-
que influence sur lui. Les premieres legons que prit
Wilhelm d'abord en dessin, ensuite en couleurs, lui
furent donnees par Jacob et Matthis, mais elles furent
sans doute theoriques, car on ne pourrait pas decouvrir
chez Wilhelm la moindre influence des methodes de ses
deux freres. Rien de plus different comme resultat. On
s'en rendra compte en parcourant les reproductions de
cet ouvrage.

A la difference de ses deux freres, Wilhelm ne suivit
pas les cours d'une Academie, il se reposa sur son amour
inne pour sa Hollande et il etudia seul. En ete, il pas-
saitson temps a travailler dans les champs et les pres;
1'hiver, il s'installait dans les ecuries et lesetables pour
etudier les bestiaux. II allait souvent sur les rivages de
la Hollande dans le petit village de Calmphout en Bel-
gique a une vingtainede kilometres d'Anvers. II aimait
a prendre ce paysage, il parle volontiers du plaisir qu'il
cut a travailler alors, etil fait remarquer avec une pointe

Les Freres Marls

d'orgueil que ses deux freres allerent etudier a Anvers
et a Paris, tandis que lui fut son seul maitre, sauf les quel-
ques lecons qu'ils lui donnerent.

Les productions de Matthis sont tout a fait differentcs
de celles de son aine et de son cadet. Son influence est
sensible dans les tableaux de Jacob ; jamais celle de
Jacob dans 1'oeuvre de Matthis. Quand les deux freres se
separerent, en i87i,rinfluence de Matthis sur Jacobdi-
minua rapidement, et finit par disparaitre; la vigueur
naturelle de la touche de Jacob se degagea completement
de 1'execution plus minutieuse, et plus timide de Matthis.
On peut done conclure qu'au point de vue mental,
Matthis est le mieux done. Jacob, tout en poussant son
frere a produire davantage, reconnaissait sa grande va-
leur, et s'inclinait devant elle sans s'en douter. En tout
cas, il est evident pour quiconque etudie les peintures
de Jacob jusqu'en 1872, qu'il y eut une influence sur cet
artiste pour modifier certaines de ses tendances, rendre
ses tons plus gris, son oeuvre plus variee, moins prosai-
que, et par consequent plus intellectuelle et plus poetique.
Dire que Matthis avait une envolee plus grande ce
n'est pas faire injure au frere aine car, ainsi que je 1'ai
deja dit, il n'est pas d'artiste qui ait eu plus de vigueur
en peinture que Jacob Maris.

Mais quand on s'occupe de 1'art de Matthis, il est fort
interessant de voir que chez ces deux freres peignant
en meme temps, le plus poete a ete le plus iufluent, et
quecelui qui etait le moins vigoureux parce qu'il etait le
plus fin, a ete reconnu pour le plus grand peintre du
moment.

Toutes les oeuvres de debut de Matthis Maris montrent
les tendres qualites de sa nature. Ses toiles ne sont jamais
grandes quelle que soit 1'importance de la composition
et, en regie generate, cette importance est grande, bien
que les dimensions des sujets soient comparativement
petites.

Voyez, par exemple, cette premiere peinture de 1'ar-
tiste, le Souvenir d' Amsterdam (M. 16). Elle mesure 45 c .
sur 25, moinsquela moitie du fameux tableau I' Angelas
et unpeu plus que ce qu'on nornme un tableau de cabi-
net, c'est-a-dire, un tableau qu'on prend sur sesgenoux,
pour le regard er de pres.

II n'est pas exagere de dire que cette petite toile
contient tous les traits essentiels de la grande cite hoi
landaise avec son demi-million d'habitants. Les grandes
maisons, les canaux, les « ophaalbruggen » dominant
tout, comme doit le faire un pont dans un pays qui est
au-dessous du niveau de la mer, et les edifices dans le
lointain, et les bateaux. Tout, sauf les diamants qui
sont, pourrait-on dire, representes ici par le colons,
tout ce que la capitale commerciale de Hollande pre-
sente au visiteur est ici concentre dans quelques pouces
carres.

J'aurais aime parler avec M. Maris de ce tableau, cat-

son coloris brun dore m'avait ete au coeur des le pre-
mier jour ou je le vis, il y a bien des annees, mais
1'artiste n'y consentit pas. « Ce n'est qu'un « pot »,
me dit-il, fabrique pour me procurer un peu d'argent
necessaire pour vivre; c'est un de mes « suicides ».

Mais rien, pas meme le mot de 1'artiste qui signa
ce tableau, il y a trente ans, ne pouvait diminuer a mes
yeux le charme de ce tableau et je repondis que c'etait
un chef-d'oeuvre de premier ordre.

Comme contraste voyez la reproduction du tableau
qui m'appartient et que j'ai nomme Sisha quand il
fallut lui donner un nom sur le catalogue du Guildhall
en 1903. Cette toile qui me rappelle si vivement le
peintre et le don de cet homme de genie est un
exemple typique de sa derniere maniere.

C'est comme un rayon de couleur sur un morceau de
toile, un reve, une vision qui a longuement hante 1'ar-
tiste et qu'il n'a pas realisee completement; c'est une
aspiration vers la Beaute, complete de ton et d'harmo
nie. Comment exprimer a des indifferents tout ce que
cela signifie pour moi, mais pour ceux qui comprennent,
comme cela est ravissant, reposant, etonnant!

En terminant ce chapitre sur les methodes de Matthis
je reproduis une longue lettre de lui. Elle n'a pas trait
a sa facon de travailler, mais elle revele sa maniere de
penser et elle exprime le peu de cas qu'il fait de ses
propres ceuvres :

« Je n'avais pas la bosse de 1'argent et tout est mene
par ca. Ce que je hai'ssais et detestais le plus, c'etait la
peinture. On me dit que j'avais du talent pour ca, que
j'etais un habile gaillard et que je pourrais gagner au-
tant d'argent que je voudrais. L'argent c'est toujours la
chose principale, et alors je fus force de m'y mettre...
Comme je passais pour quelqu'un de tres habile et ayant
du talent, apres la guerre ou le siege de Paris, un jeune
homme du nom de Vincent van Goghe vint me voir
pour me demander conseil... a la meme epoque, je fis la
connaissance d'un sculpteur du nom de Dubois. II arri-
vait desespere, ne sachant que faire, on allait le vendre.
Je ne 1'engageais pas a se pendre, mais a adorer le
« pot », a faire de petites statuettes de genre. Avant
qu'il eut pu mettre a execution cet excellent avis,
on vendit tout ce qu'il avait, son lit, ses habits, ses
oeuvres et ses outils. II comptait que 1'Etat lui ache-
terait sa statue, car on lui avait donne le marbre, mais
comme il etait ne dans un autre coin du globe, on le
considera comme n'appartenant pas a la meme espece
et on le laissa la. — L'argent avant tout ! Alors il se
trouva sans domicile, sans rien. Par une froide nuit de
fevrier il glissa sur la neige gelee, se cassa la jambe, on
le conduisit a 1'hopital ou il fut bien soigne. Quand il
fut mieux, il sortit de la comme un criminel de prison

- 1'argent avant tout! — pas d'aigent, pas d'amis! -

Les Freres Mar is

C'est Iui-m6me qui me 1'a dit. Enfin il se dit que peut-
etre chez ses compatriotes il trouverait quelqu'un qui
viendrait momentanement a son aide et il partit pour
La Haye : il n'y fut pas longtemps, qu'il se jetait par la
fenetre — esprit faible, voyez-vous !
« J'ai lu quelque part :

Au riche les parents pleuvent de toute part
Sa maison toujours en fourmille,
Et souvent le pauvre est batard
Au sein meme de sa famille.

« La loi de la « poche pleine » signifie riche, la poche
vide, pauvre. — C'est partout la meme chose — chez
les noirs, les bruns, les jaunes 'ou les blancs, chez les
paiens, les barbares, les mahometans, pour tous, poche
pleine, c'est puissance; poche vide, abandon.

« Dans les Mille et une Nuits, un personnage dont la
poche pleine est devenue vide se lamente sur son sort
et s'ecrie : « La pauvrete fait disparaitre le lustre d'un
« homme comme disparait 1'eclat du soleil couchant :
« absent, il disparait du monde ; present, il ne partage pas
« sesjoies. II fait la place du marche, et repand ses larmes
« dans les endroits deserts : Par Allah! un homme au
« milieu de ses parents, — quand il est pauvre, est
« comme un etranger. » Vol, escroquerie, exactions, pil-
lage, mise a sac, meurtre, courses, jeu, pari, tricherie,
toujours la poche pleine representant le pouvoir, repre-
sentant la liberte, representant le pain, representant
le confort. Je me demande ce que dirait la Justice si
le Charpentier prenait, de nos jours, une corde a nceuds
et allait frapper les manieurs d'argent et les « poches
pleines » baptises dans le Seigneur. »

ES TABLEAUX DES MARIS EN
AMERIQUE.

Jacob et Wilhelm Maris ont de nombreux admirateurs
aux Etats-Unis. Plusieurs importants tableaux de ces
artistes y ont emigre entre autres le fameux Pont (J. 20),
plusieurs fois cite au cours de cette etude. Ce beau
tableau fut achete en 1906 par M M. Knoedler et Cie
a la vente Alexander Young, il fait partie aujourd'hui
de la galerie de M. Frick, un des collectionneurs les
plus ardents et les plus intelligents, de New-York. J'ai
deja signale 1'estime qu'on a dans certaines villes des
Etats-Unis pour les oeuvres des freres Maris.

Au Canada, le bon gout du collectionneur avise, aide
sans doute du fort caractere ecossais, a donne aux ceuvres
de Matthis Maris une plus grande attention qu'aux
autres et nombre de ses plus jolis sujets ont trouve place
dans les tresors de cette nation artiste.

On ne sait pas encore — et cependant c'est un fait qui
aura plustard une influence considerable sur les marches
16

d'art — qu'apres Londres, Paris et New- York, Montreal
est un des centres d'art les plus importants. Depuis
trente ans et plus, des collections de tableaux se sont
formees a Montreal qui peuvent soutenir la comparaison
avec les plus belles. Les galeries de Sir George Drum-
mond, de M. James Ross, de Sir William Van Home-
Angus, Wilson et Greensthields, pour ne citer que les
plus importantes, attireraient les amateurs a Mayfair ou
au Pare Monceau et on ne trouverait pas, dans les gale,
ries academiques de Berlin ou de Vienne, une collection
qui puisse leur etre comparee.

Nous avons pu obtenir des photographies de plusieurs
tableaux de Matthis Maris qui sont a Montreal, on les
trouvera dans nos illustrations. Nous les devons a 1'obli-
geance de M. Heaton, de Montreal, dont les entretiens
nous ont beaucoup servi pour la preparation de cet ou-
vrage. Personne n'est, plus que lui, doue d'un sens tres
fin de 1'art et son influence sur ses compatriotes con-
tribuera beaucoup a faire connaitre et apprecier 1'art
dans le Dominion.

Sir George Drummond possede les plus belles aqua-
relles de Turner et 1'un des deux plus beaux Daubigny
et Corot de Montreal ; M. Ross est possesseur de 1'autre
Daubigny, d'un superbe Reynolds (Sylvia) et d'un ta-
bleau de Turner ; M. Angus a le plus beau Raeburn et
M. Greenshields un Matthis Maris (63 sur 50.), grand et
important tableau date de 1873. La reproduction de
cette toile, le Bapteme (M. i) en rend assez bien les
qualites de ton, mais rien ne peut donner une idee de
la belle couleur brune, du rouge et du beau ciel. C'est
un des tableaux qu'acheta Goupil par 1'intermediaire de
de M. Van Wisselingh. M. Greenshields est justement
fier de ce tableau, son premier possesseur, Mmc Loril-
lard Wolfe, etait grand amateur d'ceuvres d'art, elle laissa
sa collection, un peu melangee, avec une donation con-
siderable au Musee Metropolitain de New- York. Les
autres peintures de M. Greenshields sonl: VEnfant au
cerceau qui date de 1863 en ton jaune brun, plus
interessant que vraiment beau; le Rh'eur, de 1887, en
des tons gris dore delicieux, mais impossible a repro-
&u\Te;\'Attelagedeb<Kufs&e i&jo.'La.Itergerede Sir George
Drummond (M. 6) n'est pas beaucoup inferieur en cou-
leur et en harmonie generale, mais le sujet en est
peut-etre moins attrayant; le ton en est si subtile qu'il
faut une connaissance approfondie de 1'ceuvre pour 1'ap-
precier justement mais rien ne peut depasser la qualite
de 1'ceuvre, c'est une peinture de premier ordre. Le
possesseur raconte avec plaisir comment il decouvirt
ce tableau au milieu d'autres fort differents.

Le motif a personnages propriete de M. Angus de Mont-
real, se voit bien dans 1'illustration (M. 7). Parmi lesautres
tableaux signalons un paysage, propriete de M. M. Scott
et fils, 1'un des plus beaux specimens de 1'art du maitre,
et Au Fuits, appartenant a M. Summer de Montreal, qui

Les Freres Mar is

bien que moins important,est une oeuvre de premier ordre.
On trouve aussi d'autres tableaux des freres Marls au
Canada et aux Etats-Unis. Ici cependant les ceuvres de
Jacob et de Matthis sont tres pen connues et on ne trou-
verait pas d'oauvres de premier ordre dans les galeries
d'art du pays des bandes et des etoiles. Peut-etre surgira-
t-il un jour un emule de M. Freer de Detroit avec sa
collection de Whistler. Un groupement des oeuvres de
Matthis Marls ferait un excellent pendant.

UELQUES SPECIMENS DES
(EUVRES DES FRERES MARIS.

Nous avons deja au cours de cette etude signale
quelques exemples des oeuvres des freres Marls ; 11 con-
vient maintenant d'en donner une description complete
et d'en faire la critique.

Nous suivrons pour cela 1'ceuvre chronologique en
commencant par 1'aine des peintres, bien que nous
preferions — on apu deja le constater au cours de cette
etude — les tableaux et les dessins du second que
nous aurions ete disposes a presenter les premiers.

II n'etait pas facile de choisir parmi tous les tableaux
mis a notre disposition ceux qu'il convenait de repro-
duire, nous avons pris grand soin de varier autant que
possible les sujets. Un grand nombre de tableaux les
plus justement celebres de Jacob et de Wilhelm Maris
se ressemblent tellement comme dessin, que dans une
reproduction en blanc etnoir, 11 est difficile d'apprecier
les differences qui existent en realite entre les origi-
naux.

On pent dire que le Pont et V Ecluse des canaux hol-
landais avec ou sans Moulin furent les motifs favoris de
Jacob Maris, les Pres et les Bestiaux ceux de son plus
jeune frere. L'originalitede Matthis se constate par Tab -
sence d'une telle preference pour le meme sujet. La plu-
part des artistes ont d'ailleurs un gout special pour les
motifs qui s'harmonisent avec leur nature. Ainsi Hob-
bema se plaisait a peindre les moulins a eau, Ruysdael,
les cascades et Cuyp les pres de Dort par un soir d'ete,
Les paysagistes plus modernes firent de meme : Cons-
table peignit Dedham, Turner Venise. Corot Ville-
d'Avray, et Whistler jeune la Tamise.

Dans le choix auquel nous nous sommes arretes, on
retrouvera les motifs favoris de nos artistes, et nous
avons pris soin d'y apporter autant de variete que pos-
sible.

I. - ILLUSTRATIONS D'APRES JACOB MARIS. — Des
quatre reproductions en couleurs d'apres les tableaux
de Jacob Maris, trois sont de sa derniere maniere ; la qua-
trieme, \Entree du Zuider-Zee (J. 9) est une oeuvre

plus ancienne. Elle date de 1873, c'est une des plus
belles toiles de 1'artiste, au point de vue de la beaute
du dessin et du brillant de la couleur. Notre reproduc
tion ne peut pas evidemment rendre tout le charme
de I'original qui mesure pres de trois pieds de long,
mais on aura cependant une tres bonne idee du ton et
de la qualite de la peinture.

Le motif est beaucoup plus panoramique que ceux
entrepris plus tard par Jacob Maris, et il est possible
que, dans une certaine mesure, 11 ait ete inspire par
Matthis qui, en diverses occasions, a reproduit de gran-
des scenes. Les artistes etles eludiants sesouviendront
qu'eux aussi ont ete tentes, a leur debut, de faire des
vues panoramiques; ce genre de tableau a beaucoup
d'attraits pour les jeunes gens. En avancant, 1'artiste
comprend 1'immensite de la nature etchoisit des sujets
moins etendus. Constable dans ses premieres peintu-
res, Turner dans ses aquarelles (encore ce maitre fit-il
plus tard des vues panoramiques), Corot tout comme
Rembrandt, commencerent par chercher leur inspiration
dans des panoramas.

Cette vue du ZuiderZee avec ses bateaux qui voguent
sur une mer perlee, avec ses nuages qui flottent dans
1'air sans rien d'exagere, comptait comme le plus beau
morceau de la collection de M. Alexander Young qui en
etait tres fier.

Les trois autres planches en couleurs sont des motifs
simples, Porte a Harlem (J. 3) reproduction d'un tableau
a pen pres de meme dimension que notre illustration.

Le Moulin a vent (J. 17) est un peu plus grand, mais
c'est le plus petit de tous ceux de Jacob Maris sur le
meme sujet.

Le Labour (J. 27) tres difficile a reproduire d'une
facon satisfaisante est d'un brillant effet atmospherique,
tout etudiant devrait etudier avec soin ce tableau. La
simplicite de la composition en est evidente. Les longs
sillons du champ laboure s'etendent sur un horizon tout
a fait plat, on ne voit meme pas 1'indication d'une dune
de sable et 1'habile artiste ne recourt pas aux grandes
lignes d'une montagne pour faire cette toile qui, de
toutes fagons, est une grande oeuvre d'art.

Les exigences de la raise en pages ne nous ont pas
permis de placer dans leur ordre de date les illustrations
en blanc et noir. D'ailleurs on appreciera la tres grande
variete de 1'ceuvre. Jacob Maris prenait les sujets qui
lui tombaient sous la main, il peignit seulement ce qu'on
voit en Hollande de nos jours et les pays etrangers n'ont
jamais pu le decider a peindre leurs paysages et leurs
habitants.

Les Moulins a vent jouent un grand role dans ses
compositions. Les Cinq Moulins (J. 2) sont un de ses
meilleurs ouvrages.

Ce tableau qui fut peint peu de temps apres V Entree
du, Zuider Zee, est baigne dans la pure clarte du ciel

Les Freres Mar is

on y sent une paisible action, un travail plein de digmte
qui en font un chef-d'reuvre.

De temps a autre, Jacob Maris a peint des figures.

La Jcune Mere (J. 4) date de 1868, c'est un des sujets
les moins hollandais de 1'artiste. Le portrait de ses en-
fants, celui d'une jeune fille sur un sofa (J. 21) dans la
collection Donald de Glasgow, 1'enfant a la plume de
paon (J. 25) sont parmi les sujets que 1'artiste aimait a
peindre dans son atelier. Le paysage de Dordrecht, ap-
partenant a M. Beattie (J. 5) est tres connu en E"cosse
ou il a ete frequemment expose. Le Pecheur reproduit en
photo-gravure (J. 6) date de 1869, ilestd'un coloris gris
froid.

Les superbes tableaux appartenant a sir John Day —
Jours d' or age (J. 8) et Labour (J. u), le Chemin de halage,
(J. 14), Amsterdam (J. 31), le Puits (J. 15) sont tous
d'une tres belle qualite, surtout celui ou se voit un mou-
lin.

Le tableau aujourd'hui celebre qui se voit au Rijks
Mii!>eum (J. 12) est probablement une composition de
1'artiste d'apres dirferents endroits, 1'aspect general est
celtii d'Amsterdam. La Scene de Riviere, a M. Preyer
(J. 13) est un petit tableau dont la couleur gagnera
d'annee en annee comme d'autres tableaux de 1'artiste
surtout le Pont (J. 20) dont nous avons deja parle.

De la collection Donald nous reproduisons une remar-
quable aquarelle Une ville de Hollande (J. 16), oeuvre
qui en ces derniers temps a montre des signes de dete-
rioration ; certaines taches noires dans le ciel a droite
semblent produites par des changements dans la pein-
ture. La Scene de riviere, a M. Kay (J. 24), est un beau
tableau, tel qu'un connaisseur aussi avise doit en posse-
der. Le Quaide debar quement a MM. Goupil (J. 29), est
un des morceaux les plus caracteristiques qui soient
passes dans leurs mains.

Toutesces illustrations donnent les traits caracteristi-
ques de 1'art de Jacob Maris. Get artiste fut tres fecond,
surtout dans la derniere partie de sa vie, mais il ne tra-
vailla jamais a la hate, malgre la fraicheur de coloris et
1'aspect inacheve de ses peintures. Aujourd'hui, la patine
du temps a passe sur elles et Ton voit 1'intention bien
nette du peintre.

II. ILLUSTRATIONS D'APRES MATTHIS MARIS. — C'est
avec grande difficulte que nous avons pu reunir un grand
nombre de reproductions d'apres Matthis Maris; car le
choix que nous pouvions faire etait beaucoupplus res-
reintet nous avions aussi centre nouslamauvaise volon-
te des collectionneurs qui preferent garder pour eux
leurs tresors.

Parmi les illustrations en couleur, la planche de
notre Siska (M. 22) a ete deja decrite. Le Bapteme
(M. 14) est reproduit d'apres une aquarelle qui differe
tout a fait comme traitement du tableau appartenant a
M. Greenshield et portant le meme titre, (M. i) et que
18

nous avons egalement decrit. Enjetant uncoup d'ceilsur
les sujets, on verrales differences entre la facturede cet
artiste et celle de son frere aine. Quand Matthis Maris
peint un paysage comme les Moulins a vent de la col-
lection Day (M. 24), il traite ce sujet dans une forme
etheree tres au-dessus de la facon forte, mais plus ten e
a terredeson aine; qui plus est, Matthis Maris met tou-
jours dans ses tableaux un sentiment et un charme qui
le mettent hors de pair.

Le dessin que M. Matthis Maris a bien voulu nous
communiquer (M. n) est une esquisse faite il
y a des annees, pour un vitrail. II n'etait pas facile de
rendre avecsucces cette etude singulierement interes-
sante, mais 1'artiste en surveillantles tirages a donne au
lithographe de precieux conseils.

Des quatre planches en photogravure M. Andre Max-
well \ Enfant couchee (M. 17) est une des plus interes-
santes, elle rappelle les P.ipillons de M. Burrell ; c'est une
belle oeuvre. Ces deux morceaux appartiennent a des
collectionneurs de Glasgow, ils ont ete exposes a plu-
sieurs reprises en Ecosse, a la grande joie des artistes
de ce pays.

La Bergere de la collection Sir George Drummond
(M. 6), est un des plus beaux tableaux de 1'artiste ; il
date de ses pre- miers temps et fut peint vers la meme
epoque que les poulets (M. 13) de la collection Day et
que la Fleur (M. 7) appartenant a M. Angus. Baby, pour
lequel posa un des enfants de M. Lessore, appartient a
M. Ure d'Helensburg, fervent admirateur des deux
aines et possesseur de jolies peintures signees d'eux.

L'etude appartenant a Mme Van Wisselingh (M. 4)
est une de celles qui attira sur 1'artiste jeune 1'at-
tention de sa souveraine, la Tete d'un Mouton (M. 12)
de la collection Mesdag date de la meme epoque. La
Fantaisie (M. 20), a Mmc Van Wisselingh, a ce romantisme
que nous retrouvons dans les oeuvres posterieures de
Matthis. Les Enfants du Roi (M-3), le Prince et la Prin-
cesse (M. 10) avec le Chateau (M. 2) et le paysage de
la collection Mesdag (M. 10) sont pleins d'une poesie et
d'un sentiment romantique qu'll faut savoir gouter.

Le dessin du tableau de M. Crathern (M. 2) est une
eau-forte du sujet que nous reproduisons (M. 29) avec
1'autorisation de 1'artiste. Matthis autrefoisa grave nom-
bre d'eaux-fortes, la plus importante est le « Semeur, »
d'apres Millet; on en lira un petit nombre d'epreuves
et les impressions sont rares ; il y a la un melange du
charme poetique de Matthis Maris avec le realisme du
maitre de Barbizon qui en fait une planche tout a fait
remarquable.

Matthis Maris a grave aussi nombre de petites plan-
ches de memes dimensions que lestrois que nous repro-
duisons (M. 26. 29. 31) ; elles sont editees par M.M. Cot-
tier.

Le Souvenir d'Amsterdam (M. 16) dont nous avons

Les Freres Ma?' is

deja parle plus haut, aidera a faire apprecier le charme
merveillcux de cette toile, la plus belle de tous les pay-
sages du maitre.

Le president du conseil des Ministres, Sir H. Camp-
bell Bannerman, est 1'heureux possesseur d'un des
plus grands paysages de Matthis. II semble que les
Ecossais aient une predilection pour ce peintre.

III. — ILLUSTRATIONS D'APRES WILHELM MARIS. -
Les illustrations, d'apres Wilhelm Maris, sont moins
nombreuses, mais elles montrent toutes les phases du
talent de 1'artiste.

L'aquarelle \ Abreuvoir (W. 3) et la peinture a 1'huile
la Famtlle (W. 9) reproduites en couleur font voir 1'ar-
tiste sous son meilleur jour. L'aquarelle est particuliere-
ment reussie et 1'original n'etant pas trop reduit, le pro-
cede y est nettement visible.

Les deux tableaux de sir John Day : Prinlemps (W. 6)
et Bestiaux au Pdlurage (W. 7) montrent les tendances
de Wilhelm Maris; le ton et la qualite sont de ceux
que le peintre cherchait surtout a exprimer. Dans
I' ombre (W. i) peut se rendre mieux en blanc et noir et
aussi le Rutsseau (W.4).Comparezlepremier zvecYHeure
de traire (W. n) ou les feuilles tombent sur le sol sous
la brise du soir. Les Canards de Wilhelm (W. 2 et 5)
montrent une autre forme des etudes de 1'artiste dans
laquelle il a particulierement reussi.

'INFLUENCE DES
RIS,

FRERES MA-

Nous ne voulons ici qu'indiquer la place reservee,
dans 1'avenir, aux oeuvres puissantes de ces artistes. En
matiere de tradition d'art, il est evident que 1'influence
d'un grand artiste n'est pasimmediatement perceptible.
Rembrandt avait une ecole d'eleves en titre, mais son
apparente influence ne dura meme pas autant que les
homines qui 1'imiterent de propos delibere. Void, par
exemple, un tableau deGovert Flinck, portrait de Saskia
qui habitait la maison du Maitre, cette peinture res-
semble tellement comme disposition et traitement ge-
neral a celle de Rembrandt a la meme epoque, qu'on
peut tres bien la prendre pour une ceuvre du plus grand
des peintres hollandais. Mais void un autre tableau-por-
trait d'une jeune fille par le meme Covert Flinck,
ceuvre posterieure de quatre ans. On n'y trouve rien de
la couleur ni des tons de Rembrandt. Flinck est revenu
asamethode de travail a lui, plate et sans grand interet.

Cela tend a prouver que souvent 1'influence d'un ar-
tiste n'est pas tres forte et que, si elle s'exerce pendant
un moment, elle peut disparaitre au bout de quelques
annees; en d'autrestermes, elle a pu servir a developper

chez I'eleve un style personnel, alors meme que, dans
ses premieres ceuvres, cet eleve sous 1'ceil de son maitre
montrait une tendance marquee a 1'imiter.

L'un des exemples les plus remarquables de 1'influence
des maitres sur leurs eleves est celui du divin Raphael.

Dans ses premiers tableaux, Raphael reproduit, d'une
maniere pour ainsi dire servile, le dessin et le colori
de son maitre le Perugin, etcelaau point que dans cer-
taines ceuvres, il est fort difficile de distinguer I'lin de
1'autre. Cependant personne ne songe a en faire un re-
proche a Raphael, on observe seulement avec interet le
rapide developpement de sa propre maniere.

L'influence de Wilhelm Maris n'a pas encore eu le
temps de se manifester, et Ton peut dire de Jacob Maris
qu'il ne semble pas avoir d'imitateur direct.

Mais son influence a ete, elle est encore tres grande
parmi ceux qui cherchent a peindre avec de jolis tons
et de belles couleurs. En EC >sse, 1'influence de Jacob
Maris a ete enorme, plusieurs artistes habiles et capable:--
suivent, d'une maniere consciente ou non, la meme tra-
dition. Nous n'entendors pas ici adresser une critique
a ces artistes, mais leur suggerer seulement qu'ils
peuvent maintenant « voler de leurs propres ailes ».

Les paysagistes americains et canadiens montrent
aussi des dispositions a employer les memes methodes
de peinture et Ton peut dire que 1'influence de Maris
augmente plutotqu'elle ne diminue.

Quant a 1'influence de Matthis Maris, je crains qu'il
ne soit impossible de la suivre. Son art est si delicat, si
fugitif, si ensorcelant qu'en fait il est impossible de
mettreledoigt sur la place ou cette influence est visible.
Nous savons que vers 1870 Matthis eut une grande in-
fluence sur Jacob Maris, Je sais aussi que M. Swan, dans
ses tableaux de montagnes, surtout a 1'epoque de son
intimite avec Matthis, montra des dispositions a suivre
les enseignements de ce dernier qui venait souvent a
1'atelier d'Acacia Road, mais, jusqu'a present, Matthis
Maris n'a pas d'imitateurs directs.

Ce maitre, 1'un des voyants du siecle, aujourd'hui
reclus dans un des quartiers les plus populeux de Lon-
dres, a peint presque toujours ses propres idees. Sauf
en ses premieres annees quand il etait oblige pour vivre
de faire ce qu'il nomine ses « pots », ses sujets sont les
cristallisations de ses reves, jetes sur la toile tels quels
sans aucune trace de mecanisme de peinture; tout ce
qu'a fait cet artiste mystique s'eleve a une hauteur qui
depasse les arrangements plus materiels de ses freres
II a cherche et trouve son inspiration dans ce qu'il y avait
de moins tangible autour de lui et dans des reves ex-
quis qui n'ont jamais etc materialises que par des pro-
phetes dont la vie est a peine de ce monde.

D. CROAL THOMSON.

Patis — Typ. PH. RKNOUARD, 19, rue des Saints-Peres.

L'imprimeur-gt-rant : PH. RENOUARD.

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